Columbia Pictures should have kept “8mm” (* OUT OF ****) in the can. If you thought Nicolas Cage’s previous movie “Snakes Eyes” was crappy, director Joel Schumacher’s second-rate, slipshod, murder-mystery about a runaway girl, a snuff movie, and our pornographic society may alter your opinion. Co-starring Joaquin Phoenix and James Gandolfini, “8mm” lacks originality, kinky intensity, and catharsis. Although the filmmakers take audiences on a tour of the sleazy hindquarters of American society, “8mm” balks at pushing the envelope in its depiction of decadence. Never as disturbing as the Al Pacino movie “Cruising,” the George C. Scott film “Hardcore,” or the Charles Bronson’s thriller “Kinjite: Forbidden Subjects,” this darkly lensed pseudo-suspenser simmers far too long before the plot comes to a boil. Fans of “Se7en” scenarist Andrew Kevin Walker may wonder how much Columbia diluted his script to yield such comatose claptrap.
When an industrial czar’s rich widow, Mrs. Christian (Myra Carter of “The Witches of Salem: The Horror and the Hope”), opens her recently deceased husband’s safe, she discovers what she suspects is a snuff movie. In this one-reel film, a young girl appears to die at the hands of a leather-clad sadist. The elderly Mrs. Christian hires clean-cut, buttoned-down Tom Welles, a small potatoes private eye, to determine the authenticity of the snuff film. Welles accepts the assignment without high hopes. He treats it as a missing person’s case. Once he has identified the girl as May Anne Matthews (Jenny Powell), he contacts Mary Anne’s working class mom (Amy Morton) and snoops around the runaway’s room.
The trail takes Welles to the West Coast where he hires a smart-aleck porno-store clerk, Max California (Joaquin Phoenix), with an encyclopedic knowledge of kink to guide him through the underworld of hardcore pornography. Max warns Tom before he begins his tour, “There are things you’re going to see that you can’t unsee.” Max is a tough young man who has not let the filth and pornography affect him. When Tom Welles meets him, Max has a clover of a cheap porno novel wrapped around a copy of Truman Capote’s bestseller “In Cold Blood.” Throughout the case, Tom grapples with the question that bugs him about the dead millionaire: “Why did he want to film a little girl being butchered?” Tom keeps L.A. porno producer Eddie Poole (James Gandolini of “True Romance”) under surveillance until Poole leads him to a guy who produced the snuff movie, the infamous Dino Velvet (Peter Stormare of “Armageddon”), who has his headquarters in New York City.
Tom and Max fly to the Big Apple, contact the fiendish Dino, and give him the front money for the movie. Tom has one condition: they must allow him to observe them as they film. At this point, Tom sends Max packing out of harm’s way, before he confronts the pornographers in an abandoned warehouse at the edge of town. The killers surprise Tom and turn the tables on him. “Satan ex machine,” quips the nasty Dino with relish as he shows Tom that they knew about him from the start. Further disclosure would spoil what little suspense Schumacher conjures up.
“Se7en” scenarist Andrew Kevin Walker has inked a lukewarm murder-mystery yarn shot on surprises but long on clichés. The co-scenarist on “Hideaway” (1995), Walker provides standard set-pieces such as a rain swept graveyard fight, a “Silence of the Lambs” confrontation in a creepy house, an “In Cold Blood” style murder sequence, and a “Death Wish” vigilante hero. The villains epitomize stereotypical predators who pose little threat to the sanitized knight hero. The action plods more often than it pulsates. Obviously, Schumacher deploys atmosphere (i.e. , set design) as a smoke screen to cover up the pornographic material that good taste and censorship prevent him from showing. Indeed, as prudish as “8mm” is, the filmmakers had to contrive something more than prurience to attract an audience.
“8mm” makes the most of Nicolas Cage and shows Joaquin Phoenix at his best. Cage imbues “8mm” with his unique brand of underdog charm and antithetical heroism. Cage plays Welles as a sad-faced Sam Spade with a nagging wife (Catherine Keener) and an infant daughter. Young, ambitious, mobile, and polished, Tom devotes himself to his family. When he isn’t on a case, he’s raking the front yard. Tom is the heart and soul of “8mm,” and the filmmakers make him tough, resourceful, but vulnerable and hen-pecked. Tom Welles serves as the conscience and custodian of morality of “8mm.” A great deal of John Wayne’s Ethan Edwards from director John Ford’s “The Searchers” jostles for prominence in Nicolas Cage’s performance. Eventually, Tom begins to obsess over poor Mary Anne Matthews and her plight. Cage struggles to make straight-arrow Tom Welles a flesh and blood fellow, but Schumacher doesn’t abet him. Tom Welles doesn’t have much of a back-story. He is a cipher defined only by Cage’s repertoire of looks and gestures. Mind you, Cage gives a soulful, serious performance. Tom Welles may be too tightly wrapped, and Cage never lets his guard down. Welles can be defined by how much he can absorb before he buckles. “8mm” is another exercise in masculine control, and the film charts his growth from law-abiding private eye to lone vigilante.
The bad guys in “8mm” wear their villainy like placards. Four villains menace Tom Welles, but the fourth is not unmasked until the climax. All deserve to die, and as the offal of humanity they earn miserable, ignominious deaths. As a porno-movie producer, Eddie Poole (James Gandolfini) elicits nothing but contempt as the kind of verminous scum who sodomizes women, guzzles liquor, curses blasphemously, and dresses like a lout. He is a repository of politically-incorrect and socially unacceptable traits. As another porno producer, Dino Velvet (Peter Stormare) hams it up with a crossbow and the beard of a vaudeville villain. Chris Bauer creates evil incarnate as ‘Machine,’ the leather-clad star of S & M videos who kills because he enjoys it. Machine’s speech at the end of “8mm” serves as a commentary on the face of evil.
The villains in “8mm,” like some in real-life, do what they do because they can afford it and they enjoy it. They are not pawns of a disease. The late tycoon commissioned a snuff movie because he had the money, and wealth represents power in American society. The one real film lay in his safe like a scalp in a poacher’s bag. Eddie Poole made the snuff movie because “it was something I did for money.” Machine dismisses societal reasons for his homicidal behavior. “I was beaten as a child. I didn’t hate my parents. I like it.” Machine makes these comments as he slips on a pair of dorky glasses and leers at Tom.
Director Joel Schumacher has helmed several classy Hollywood movies, such as “Falling Down,” “The Client,” “A Time to Die,” “Batman Forever,” “Batman and Robin,” “The Lost Boys,” and “Flatliners.” The veteran director imitates Tim Burton this time out with his emphasis on Stygian lighting, gothic color schemes, and prosaic storytelling. Sadly, the story is presented in such a procedural manner with the accent on reality that it amounts to a bore. Cage takes breaks from the case to call up his plain-Jane wife and his baby daughter to apologize for not being with them. When things go too far, his wife reads him the riot act and threatens to leave him.
Essentially, Schumacher has gone too far in the other direction. From splashy comic book super heroes, he has retreated to dreary, world-weary ordinary mortals forced to make life’s disasters his omelets. Rather than immerse audiences in sex and nudity, Schumacher approaches the obscene then swings the camera on Cage’s face to see the effect it registers on Tom Welles. Always the epitome of subtlety, when he wants to suggest sleaze, Schumacher punches up the volume on composer Michael Danna’s electronic, Arabic-flavored music score. “8mm” drags along with a burst of energy near the end that does little to redemn the long wait to which the filmmakers subject their audience.
Altogether, “8mm” is a dull, clammy, little exercise in voyeurism and perversion. Columbia Pictures and director Joel Schumacher couldn’t have contrived a better bedtime story for the Super Court Justices to lull themselves asleep to than “8mm.”
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, September 29, 2010
Tuesday, September 28, 2010
FILM REVIEW OF "MCQ" (1974)
Initially, prominent Hollywood action director John Sturges and leading man John Wayne had planned to make "The Sons of Katie Elder." Wayne's declining health, however, prevented them from collaborating on that superb western that Henry Hathaway eventually helmed. Instead, Sturges and Wayne got together to make the urban police thriller "McQ," and "McQ" (***1/2 out of ****) ranks as one of the best of the modern-day police thrillers in the tradition of both "Bullitt" and "Dirty Harry." The Lawrence Roman screenplay, inspired by Roman's previous epic "Slaughter on 10th Avenue," is top-notch stuff with a genuine mystery attached to an otherwise highly serviceable thriller about a rogue cop. Veteran detective Lon McQ (John Wayne) has a vendetta to settle with the chief villain, Manuel Santiago, and McQ believes that Santiago put out a contract on his partner Stan Boyle. Yes, this formulaic plot is as creaky as "The Maltese Falcon," but Sturges and Wayne always pay off in spades.
This atmospheric actioneer is worth watching for several reasons. First, cinematographer Harry Straddling, Jr. lensed a really cool, careening auto chase across scenic Seattle. Second, everybody has memorable lines of dialogue. Third, Elmer Bernstein delivers another thumping orchestral score. Fourth, Hal Needham staged the first ever tumbling cinematic car stunt on the beach at the end. Fifth, John Wayne gets to wield the rapid-firing MAC-10 submachine gun in its motion picture debut. "Lon, it's not licensed," the firearms guy reminds him. "Jack," McQ replies, "neither am I." Remember Dirty Harry had his .44 magnum, so Wayne winds up with a variation on his old "Stagecoach" repeater. Sixth, Eddie Albert, despite one sudden haircut goof in an interrogation scene, stands out as McQ's fire-eating superior Ed Kosterman who blames everything on 'radicals.' Kosterman keeps his eyes glued on McQ from start to finish. Eventually, Kosterman assigns a cop, J.C. (Jim Watkins of "Cool Breeze") to shadow McQ because McQ has a history of police brutality. McQ is a "Die Hard" type cop. He does what he needs to so he can get what it wants. It's not often that you see John Wayne play a character who intentioned lies. Western television star Clu Gulager is on hand, too, in a first-class cast that includes "McCloud's" girlfriend Diana Muldaur, perennial tough guy villain Al Lettieri, Colleen Dewhurst, Julie Adams, and portly David Huddleston.
The complex plot opens with McQ's long-time partner Stan Boyle (William Bryant of "The Guns of Will Sonnet") putting three bullets each into two uniformed cops during the early morning breakfast hours. What McQ doesn't know is that Boyle is the one did the killing. Boyle doesn't give either man a chance to return fire. Later, at a rendezvous outside of a coffee shop, Boyle hands his murder weapon, a 9MM automatic pistol with a silencer, over to the mystery man who lets him have it with a shotgun blast in the back. The mystery arises over who did the killings. Captain Kostermann (Eddie Albert of "Roman Holiday") insists that radicals are behind these murders. Predictably, McQ believes that his arch nemesis Santiago (Al Letierri of "The Godfather")is to blame. As it turns out, Kostermann and McQ are both wrong!
Nothing is a picnic for our hero. Later, he is trying to pull out of an alley and two 18-wheel tractor-trailer rigs box him in and slam repeatedly into his Green Hornet until it is a shambles and he is squished up in it. The villains, it seems, have been trying to separate McQ from his car since the outset when a car thief tried to swipe his car at the marina. No sooner has McQ left the Seattle P.D. than he persuades a local private eye, Pinky (David Huddleston of "Bad Company"), to help him get a P.I. license so he can take advantage of Pinky's cover. "I see it, do-it-yourself gumshoe," Pinky observes.
John Sturges, who helmed "The Magnificent Seven," "The Great Escape," and "The Satan Bug" maintains the suspense and tension throughout this 111 minute thriller and sets up one primary red herring in the Roman screenplay that pays off in the finale. Mind you, "McQ" is no "Dirty Harry." It doesn't address the legal complications of our flawed justice system, and the chief villain is a corporate type drug smuggler with a large company that he can hide behind as well as an expensive attorney who doesn't miss a trick.
Sure, John Wayne looks a mite long in the tooth to be playing such an athletic role, but he carries himself well enough and he has a genuine character to play. Incidentally, Wayne had a chance to play "Dirty Harry," but he turned it down. He doesn't have a bank robbery scene like Clint did in "Dirty Harry," but he has a scene where he nails a fleeing hit-man named Patty Samuels dead in his tracks on a Seattle dock with a well-nigh impossible shot. "That was the greatest shot," raves a dock hand, "that I ever saw." Interestingly, this scene resembles a scene from Sturges' "The Magnificent Seven" where Brett (James Coburn) fired at a man on horse just as the rider reached the skyline. Brett blew the horseman out of the saddle. Chico rhapsodizes about the shot, but Brett explains that he was aiming for the horse but not the rider!
"McQ" is an above-average thriller that every John Wayne fan must see!
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An excellent book to peruse if you are interested in John Sturges, his life, and his films is Glen Lovell's top-notch biography on Sturges entitled "Escape Artist: The Life and Films of John Sturges." Mr. Lovell spent 10 years writing and researching this seminal text about Sturges.
Saturday, September 18, 2010
FILM REVIEW OF ''RESIDENT EVIL: AFTERLIFE" (2010)
Spectacular 3-D visual effects, larger-than-life action situations, and audacious characters make the fifth entry in the “Resident Evil” franchise a lot of fun. Virtually everybody is referring to “Resident Evil: Afterlife” (*** out of ****) as the fourth entry. Basically, with some justification, each is ignoring director Makoto Kamiya’s “Resident Evil: Degeneration.” Mind you, “Resident Evil: Degeneration” was an animated epic without Alice as the chief protagonist, and it went straight-to-video when Sony released it back in 2008. As far as I’m considered, Sony scraped the bottom of the biohazard barrel with “Resident Evil: Degeneration.” Nothing about it was remotely memorable. Meanwhile, “Death Race” director Paul W.S. Anderson returns to the helm with the latest entry “Resident Evil: Afterlife.” For the record, Anderson directed the original “Resident Evil” (2002) and has penned all four of the live-action features as well as served as producer. “Resident Evil: Afterlife” qualifies as a crisp, invigorating, 97-minute actioneer never wears out its welcome. The digital 3-D prints are scintillating to see. When the butt-kicking heroic babe charges the camera and hurls those ninja throwing stars, you want to dodge them. Meaning, Sony Pictures produced the movie in 3-D. Lately, some studios have simply converted a 2-D movie into 3-D, and the movie looks terrible. This is not the case with “Resident Evil: Afterlife.”
This action-packed post-apocalyptic zombie flick unfolds in Tokyo. An outbreak of the T-virus devastates the capital city of Japan. By the time that practically everybody is dead, the Umbrella Corporation posts snipers to pick off wandering zombies. Without warning, the Umbrella snipers begin to die. Of course, Alice with her samurai sword is at work, and she brings multiple clones of herself armed with Heckler and Koch MP-5 submachine guns. Initially, she kills close to 500 soldiers at the Umbrella Corporation’s underground headquarters and targets the evil Umbrella Corporation Chairman Albert Wesker (Shawn Roberts of “Edge of Darkness”) who manages to escape in a twin-engine helicopter with wings. The real Alice sneaks aboard to kill him and he drains her of the mutant resources that the T-virus instilled in her. Basically, Alice goes back to being a mortal. Wesker, who has been infected by the virus, is struggling to control the effects of the T-virus, and he needs what has been rolling around in Alice’s system. Suddenly, the hover chopper jet that Wesker escaped in from the Tokyo Headquarters crashes on a mountainside. Miraculously, Alice survives. She sets off to find her friends, Claire Redfield (Ali Larter of “Final Destination”) and K-Mart (Spencer Locke of “Spanglish”), who flew off in helicopters to Alaska to find safety at a place called Arcadia. The catch is that Arcadia is a super tanker operated by the Umbrella Corporation. and they capture everybody who left the desert in the previous film “Resident Evil: Extinction.” The Umbrella henchmen slap a ruby red spider-like contraption onto their chests that robs them of their memory. Claire managed to escape, but K-Mart and over two thousand others were imprisoned to be used in more Umbrella experiments. Alice commandeers a propeller-driven plane, flies to Alaska and finds Claire. The ruby red spider like device on Claire’s chest has wiped out her memory, and Claire tries to kill Alice when they first met.
Together Alice and Claire wind up flying to Los Angeles. The city of Angels stands in cinders and only seven people have survived. They are holed up in a skyscraper prison, and zombies have laid siege to the building. Alice wings her way in and makes a cliffhanger landing on the prison roof. She almost overshoots the roof. By now, Claire has regained her memory. They meet a sleazy movie producer Bennett (Kim Coates of “Waterworld”), Bennett’s intern Kim Yong (newcomer Norman Yeung), basketball superstar Luther West (Boris Kodjoe of “Surrogates”), Angel Ortiz (Sergio Peris-Mencheta of “Love Ranch”), aspiring actress Crystal (Kacey Barnfield of “Popcorn”), and Wendell (Fulvio Cecere of “Watchmen”). Initially, they believe Alice and Claire have come to fly them to the nearby supertanker Arcadia. The supertanker is visible from the top of the prison, and they’ve heard the radio station about safety and food. Of course, Alice has to disappoint them. Nevertheless, Alice is intrigued about the ship. Claire meets her older brother Chris Redfield (Wentworth Miller of ABC-TV’s “Prison Break”) who has been mistaken for a killer and locked by Bennett and his people. Chris has a way that they can escape from the prison and make it to the coast where they can get transportation to the Arcadia. Eventually, the zombies break into the prison after a Goliath dragging a gigantic hammer smashes his way through the locked gates and comes after Alice. As our heroes struggle to escape from the zombies, they are whittled down by the opposition.
Ultimately, the flaw that afflicts “Resident Evil: Afterlife” and all the “Resident Evil” sequels is story. In the original "Resident Evil," the Umbrella Corporation manufactured viral weapons and an industrial spy broke into the corporation’s Raccoon City complex and unleashed it. Everybody died, but they did not remain dead. They came back from the dead as ravenous flesh eating zombies. Not only did the men and women come back as zombies, but also the laboratory animals and mutant laboratory experiments. Since “Resident Evil,” Alice (Milla Jovovich) has been destroying zombies as well as Umbrella executives who want to carry on business as usual. Anderson hasn’t altered that serviceable narrative very much. You can only do so much with zombies unless you are cult filmmaker George Romeo, and Romeo changed zombies in “Land of the Dead.” Nevertheless, aside from the deadly familiarity that the franchise suffers from, everything else in “Resident Evil: Afterlife” looks fantastic. Jovovich’s gravity-defying antics, the exotic settings, a variety of new zombies: burrowing zombies, zombies octopus-like mandibles, water zombies, and a gigantic zombie with a gargantuan axe, as well as glossy production values, George Washington quarters as Alice’s shotgun ammo, a high body count, and the thumping tomandandy soundtrack make this adaptation of the Capcom survival horror videogame a blast to watch.
This action-packed post-apocalyptic zombie flick unfolds in Tokyo. An outbreak of the T-virus devastates the capital city of Japan. By the time that practically everybody is dead, the Umbrella Corporation posts snipers to pick off wandering zombies. Without warning, the Umbrella snipers begin to die. Of course, Alice with her samurai sword is at work, and she brings multiple clones of herself armed with Heckler and Koch MP-5 submachine guns. Initially, she kills close to 500 soldiers at the Umbrella Corporation’s underground headquarters and targets the evil Umbrella Corporation Chairman Albert Wesker (Shawn Roberts of “Edge of Darkness”) who manages to escape in a twin-engine helicopter with wings. The real Alice sneaks aboard to kill him and he drains her of the mutant resources that the T-virus instilled in her. Basically, Alice goes back to being a mortal. Wesker, who has been infected by the virus, is struggling to control the effects of the T-virus, and he needs what has been rolling around in Alice’s system. Suddenly, the hover chopper jet that Wesker escaped in from the Tokyo Headquarters crashes on a mountainside. Miraculously, Alice survives. She sets off to find her friends, Claire Redfield (Ali Larter of “Final Destination”) and K-Mart (Spencer Locke of “Spanglish”), who flew off in helicopters to Alaska to find safety at a place called Arcadia. The catch is that Arcadia is a super tanker operated by the Umbrella Corporation. and they capture everybody who left the desert in the previous film “Resident Evil: Extinction.” The Umbrella henchmen slap a ruby red spider-like contraption onto their chests that robs them of their memory. Claire managed to escape, but K-Mart and over two thousand others were imprisoned to be used in more Umbrella experiments. Alice commandeers a propeller-driven plane, flies to Alaska and finds Claire. The ruby red spider like device on Claire’s chest has wiped out her memory, and Claire tries to kill Alice when they first met.
Together Alice and Claire wind up flying to Los Angeles. The city of Angels stands in cinders and only seven people have survived. They are holed up in a skyscraper prison, and zombies have laid siege to the building. Alice wings her way in and makes a cliffhanger landing on the prison roof. She almost overshoots the roof. By now, Claire has regained her memory. They meet a sleazy movie producer Bennett (Kim Coates of “Waterworld”), Bennett’s intern Kim Yong (newcomer Norman Yeung), basketball superstar Luther West (Boris Kodjoe of “Surrogates”), Angel Ortiz (Sergio Peris-Mencheta of “Love Ranch”), aspiring actress Crystal (Kacey Barnfield of “Popcorn”), and Wendell (Fulvio Cecere of “Watchmen”). Initially, they believe Alice and Claire have come to fly them to the nearby supertanker Arcadia. The supertanker is visible from the top of the prison, and they’ve heard the radio station about safety and food. Of course, Alice has to disappoint them. Nevertheless, Alice is intrigued about the ship. Claire meets her older brother Chris Redfield (Wentworth Miller of ABC-TV’s “Prison Break”) who has been mistaken for a killer and locked by Bennett and his people. Chris has a way that they can escape from the prison and make it to the coast where they can get transportation to the Arcadia. Eventually, the zombies break into the prison after a Goliath dragging a gigantic hammer smashes his way through the locked gates and comes after Alice. As our heroes struggle to escape from the zombies, they are whittled down by the opposition.
Ultimately, the flaw that afflicts “Resident Evil: Afterlife” and all the “Resident Evil” sequels is story. In the original "Resident Evil," the Umbrella Corporation manufactured viral weapons and an industrial spy broke into the corporation’s Raccoon City complex and unleashed it. Everybody died, but they did not remain dead. They came back from the dead as ravenous flesh eating zombies. Not only did the men and women come back as zombies, but also the laboratory animals and mutant laboratory experiments. Since “Resident Evil,” Alice (Milla Jovovich) has been destroying zombies as well as Umbrella executives who want to carry on business as usual. Anderson hasn’t altered that serviceable narrative very much. You can only do so much with zombies unless you are cult filmmaker George Romeo, and Romeo changed zombies in “Land of the Dead.” Nevertheless, aside from the deadly familiarity that the franchise suffers from, everything else in “Resident Evil: Afterlife” looks fantastic. Jovovich’s gravity-defying antics, the exotic settings, a variety of new zombies: burrowing zombies, zombies octopus-like mandibles, water zombies, and a gigantic zombie with a gargantuan axe, as well as glossy production values, George Washington quarters as Alice’s shotgun ammo, a high body count, and the thumping tomandandy soundtrack make this adaptation of the Capcom survival horror videogame a blast to watch.
FILM REVIEW OF "THE KEEPER" (2009)
“Sweepers” director Keoni Waxman keeps the serviceable Steven Seagal thriller “The Keeper” (**1/2 OUT OF ****) from bogging down in “Con Express” scenarist Paul A. Birkett’s formulaic but entertaining yarn. An honest L.A.P.D. detective, who has been put-out-to-pasture, serves as a bodyguard for one of his oldest friends in Texas after an attempt is made to kidnap his friend’s adult daughter. Obviously, Waxman and Birkett must have seen Seagal’s second theatrical release “Hard to Kill” about a cop who gets shot, winds up in a coma for seven years, and then makes a miraculous recovery to take down the dudes that did him dirty. The rest of the story concerns our hero’s efforts a la “The Bodyguard” to protect a woman from evil kidnappers who want to use her to extort millions from her father.
Twenty-five year veteran police officer Roland Salinger (Steven Seagal) and his partner Trevor (Brian Keith Gamble of "Felon") stumble onto about $20-million of illicit drug money after they blast a room full of villains to death. Trevor wants to appropriate the dough. He claims that nobody will care. Appropriately, Roland is surprised by his partner’s attitude. He is more surprised when Trevor puts two slugs through his chest. Unfortunately for Trevor, he doesn’t finish the job. Nevertheless, Trevor is so certain that Roland is kaput that he calls in a 911 “an officer down” alert. Imagine Trevor's considerable shock when he learns later from a uniformed cop on the scene that Roland has a pulse. Trevor decides to finish off Roland at the hospital. Before Trevor walks into Roland's room, Roland's niece enters and inquires about her uncle's condition. Roland steals a revolver from his niece's purse while she is looking the other way and talking to a nurse. At this point, nobody knows for sure that Roland will recover from his wounds. Roland conceals the firearm under his hospital gown. After his niece leaves, Trevor slips into the room and tries to suffocate Roland with a pillow Imagine Trevor's surprise when the indestructible Roland plugs him twice. The way that Waxman and Birkett set up and pay off this scene is as adequate as Roland’s stamina is remarkable.
Gradually, Roland recovers his lethal skills. Waxman turns Roland's recovery into a montage of our hero slinging knives into a board. Naturally, as Roland recuperates, the knives hit the board and stick in it instead of bouncing off it or other knives. Although Roland makes a miraculous recovery, the L.A.P.D. mandates that he take early retirement. Not long afterward one of Roland’s best friends who he calls "a stand-up guy,” Conner Wells (Stephen DuVall of “Driven to Kill”), asks him to act as a bodyguard for Nikita Wells (Liezl Carstens of “Jordan”) his party-hardy daughter. Earlier, Nikita and her obnoxious boyfriend, Mason "The Storm" Silver (Arron Shiver of "Swing Vote"), were leaving a party when a group of assailants posing as paparazzi surrounded Nikita’s limo and opened fire on her bodyguard, Jorge (Tomas Sanchez of “MacGruber”), killing him in a brief firefight in an underground garage. One of the first clues that Mason is a villain occurs when he gets out of the limo to talk to the paparazzi and then flees to hide in a corner of the garage as they try to kidnap Nikita. Of course, Nikita doesn’t realize what an obnoxious jerk that Mason is or that he is a part of a conspiracy to abduct her. What nobody knows is that Mason is tied in with Conner’s old nemesis, career criminal Jason Cross (Luce Rains of “Appaloosa”), who wants to steal the deeds to all of Wells’ real estate holdings. Indeed, Mason has been trying to arrange things so that Conner’s men can kidnap her Nikita. Eventually, we learn that uranium has been discovered on Connor’s depleted oil well lands and the avaricious Cross wants the property. During this second quarter of the film, Waxman cross-cuts between Roland’s recovery and Nikita’s botched abduction. Indeed, Waxman does an adequate job of pacing the action and preparing us for what inevitably lies ahead.
No sooner does Roland land in a private charter jet in San Antonio than he finds himself chatting with an irate local lawman, Detective Simon Pacheco (Kevin Wiggins of “Terminator Salvation”), who notices the arsenal of firearms that Roland has brought in as part of his bodyguard job. Pacheco informs Roland that he doesn’t need back-up from a retired cop. “This is my town,” he points out. “So I hope there’s no problem. You just remember while you’re here, I’ll be watching you.” Roland knows that he is stepping on toes, so he steps lightly. “Well, it’s nice to have somebody at my back.” Throughout “The Keeper,” Pacheco keeps close tabs on our hero. Indeed, Pacheco seems to interfere more with Roland than Cross and his men. Later, Mason takes Nikita with him for a ride without giving her a chance to tell Roland and Cross sends his men to kidnap. Roland gun downs a couple of guys and kills another with a knife in the biggest action scene in this low-body count yarn. Nevertheless, he cannot thwart the kidnapping. Predictably, when Pacheco and his ten-gallon hatted deputies arrive at the scene, they arrest Roland who was clearly within his rights. Roland and Pacheco have a love/hate relationship. Pacheco warns Conner about Roland’s trigger-happy, knife-slinging behavior. Conner fixes it so that Roland is released. Roland tracks down Mason, snaps the neck of one Cross henchman and shoots two others and finds Mason holed up with a prostitute. Mason confesses to Roland that he helped set up Nikita for Cross to kidnap. Meantime, Cross wants to exchange Nikita for $5-million in cash and diamonds along with the property deeds to all of Conner’s oil field properties that have "the richest deposits of uranium in the United States." Anyway, Cross and Connor met at a rendezvous to exchange the loot for Nikita and Roland calls in Pacheco for back-up. A brief firefight erupts and the bad guys are either killed or in the case of Cross arrested. Connor has to exercise great restraint from killing Cross when he has him at gunpoint.
Nothing incredibly surprising occurs in “The Keeper,” but it is always fun to watch Seagal decimate the opposition with his aikido martial arts skills. The shoot-outs are sufficiently bloody and brutal, and Liezl Carstens qualifies as a sympathetic by flighty heroine. The villains are appropriately scummy, but they lack the quality that make them larger-than-life and worthy of their comeuppance. Waxman plays everything pretty straightforward, and Seagal doesn’t utter any ironic one-liners. Seagal's varies his dialogue delivery between urban funkiness to a whispered business-like rasp. This doesn't necessarily mean that Seagal gives a flawed performance. There are times when he speaks the lingo of those around him as in the case of his corrupt African-American partner. Later, when he ends up in Texas, he doesn't make with the funky dialect. The close-quarters combat scenes are edited so that everything occurs so rapidly that you may miss a punch or two if you aren't looking. The sequence in the hospital when the nurses are rushing Roland into surgery is rather well-done in terms of angles and coverage. “The Keeper” is not as much fun as “Urban Justice,” but it surpasses many of the martial arts star’s earlier straight-to-video releases where his voice was dubbed in by other actors.
Twenty-five year veteran police officer Roland Salinger (Steven Seagal) and his partner Trevor (Brian Keith Gamble of "Felon") stumble onto about $20-million of illicit drug money after they blast a room full of villains to death. Trevor wants to appropriate the dough. He claims that nobody will care. Appropriately, Roland is surprised by his partner’s attitude. He is more surprised when Trevor puts two slugs through his chest. Unfortunately for Trevor, he doesn’t finish the job. Nevertheless, Trevor is so certain that Roland is kaput that he calls in a 911 “an officer down” alert. Imagine Trevor's considerable shock when he learns later from a uniformed cop on the scene that Roland has a pulse. Trevor decides to finish off Roland at the hospital. Before Trevor walks into Roland's room, Roland's niece enters and inquires about her uncle's condition. Roland steals a revolver from his niece's purse while she is looking the other way and talking to a nurse. At this point, nobody knows for sure that Roland will recover from his wounds. Roland conceals the firearm under his hospital gown. After his niece leaves, Trevor slips into the room and tries to suffocate Roland with a pillow Imagine Trevor's surprise when the indestructible Roland plugs him twice. The way that Waxman and Birkett set up and pay off this scene is as adequate as Roland’s stamina is remarkable.
Gradually, Roland recovers his lethal skills. Waxman turns Roland's recovery into a montage of our hero slinging knives into a board. Naturally, as Roland recuperates, the knives hit the board and stick in it instead of bouncing off it or other knives. Although Roland makes a miraculous recovery, the L.A.P.D. mandates that he take early retirement. Not long afterward one of Roland’s best friends who he calls "a stand-up guy,” Conner Wells (Stephen DuVall of “Driven to Kill”), asks him to act as a bodyguard for Nikita Wells (Liezl Carstens of “Jordan”) his party-hardy daughter. Earlier, Nikita and her obnoxious boyfriend, Mason "The Storm" Silver (Arron Shiver of "Swing Vote"), were leaving a party when a group of assailants posing as paparazzi surrounded Nikita’s limo and opened fire on her bodyguard, Jorge (Tomas Sanchez of “MacGruber”), killing him in a brief firefight in an underground garage. One of the first clues that Mason is a villain occurs when he gets out of the limo to talk to the paparazzi and then flees to hide in a corner of the garage as they try to kidnap Nikita. Of course, Nikita doesn’t realize what an obnoxious jerk that Mason is or that he is a part of a conspiracy to abduct her. What nobody knows is that Mason is tied in with Conner’s old nemesis, career criminal Jason Cross (Luce Rains of “Appaloosa”), who wants to steal the deeds to all of Wells’ real estate holdings. Indeed, Mason has been trying to arrange things so that Conner’s men can kidnap her Nikita. Eventually, we learn that uranium has been discovered on Connor’s depleted oil well lands and the avaricious Cross wants the property. During this second quarter of the film, Waxman cross-cuts between Roland’s recovery and Nikita’s botched abduction. Indeed, Waxman does an adequate job of pacing the action and preparing us for what inevitably lies ahead.
No sooner does Roland land in a private charter jet in San Antonio than he finds himself chatting with an irate local lawman, Detective Simon Pacheco (Kevin Wiggins of “Terminator Salvation”), who notices the arsenal of firearms that Roland has brought in as part of his bodyguard job. Pacheco informs Roland that he doesn’t need back-up from a retired cop. “This is my town,” he points out. “So I hope there’s no problem. You just remember while you’re here, I’ll be watching you.” Roland knows that he is stepping on toes, so he steps lightly. “Well, it’s nice to have somebody at my back.” Throughout “The Keeper,” Pacheco keeps close tabs on our hero. Indeed, Pacheco seems to interfere more with Roland than Cross and his men. Later, Mason takes Nikita with him for a ride without giving her a chance to tell Roland and Cross sends his men to kidnap. Roland gun downs a couple of guys and kills another with a knife in the biggest action scene in this low-body count yarn. Nevertheless, he cannot thwart the kidnapping. Predictably, when Pacheco and his ten-gallon hatted deputies arrive at the scene, they arrest Roland who was clearly within his rights. Roland and Pacheco have a love/hate relationship. Pacheco warns Conner about Roland’s trigger-happy, knife-slinging behavior. Conner fixes it so that Roland is released. Roland tracks down Mason, snaps the neck of one Cross henchman and shoots two others and finds Mason holed up with a prostitute. Mason confesses to Roland that he helped set up Nikita for Cross to kidnap. Meantime, Cross wants to exchange Nikita for $5-million in cash and diamonds along with the property deeds to all of Conner’s oil field properties that have "the richest deposits of uranium in the United States." Anyway, Cross and Connor met at a rendezvous to exchange the loot for Nikita and Roland calls in Pacheco for back-up. A brief firefight erupts and the bad guys are either killed or in the case of Cross arrested. Connor has to exercise great restraint from killing Cross when he has him at gunpoint.
Nothing incredibly surprising occurs in “The Keeper,” but it is always fun to watch Seagal decimate the opposition with his aikido martial arts skills. The shoot-outs are sufficiently bloody and brutal, and Liezl Carstens qualifies as a sympathetic by flighty heroine. The villains are appropriately scummy, but they lack the quality that make them larger-than-life and worthy of their comeuppance. Waxman plays everything pretty straightforward, and Seagal doesn’t utter any ironic one-liners. Seagal's varies his dialogue delivery between urban funkiness to a whispered business-like rasp. This doesn't necessarily mean that Seagal gives a flawed performance. There are times when he speaks the lingo of those around him as in the case of his corrupt African-American partner. Later, when he ends up in Texas, he doesn't make with the funky dialect. The close-quarters combat scenes are edited so that everything occurs so rapidly that you may miss a punch or two if you aren't looking. The sequence in the hospital when the nurses are rushing Roland into surgery is rather well-done in terms of angles and coverage. “The Keeper” is not as much fun as “Urban Justice,” but it surpasses many of the martial arts star’s earlier straight-to-video releases where his voice was dubbed in by other actors.
Monday, September 13, 2010
FILM REVIEW OF "THE SWITCH" (2010)
Although the Jennifer Aniston & Jason Bateman romantic comedy "The Switch" (**** OUT OF ****) didn't beat the earlier Jennifer Lopez sperm bank comedy "The Back Up Plan" to the big-screen, co-directors Josh Gordon and Will Speck have produced a much more satisfying yarn about a single, fortysomething female's desire for artificial insemination. "The Back-Up Plan" relied on the comic predicament Lopez found herself in after she ran into Mr. Right the same day that her doctor inseminated her. The complications that arose between the Lopez character and her new boyfriend over her test tube pregnancy provided the grist of the plot. Naturally, the boyfriend found himself in an identity crisis because her pregnancy reversed the typical chronology of a couple and he got cold feet. Predictably, Lopez and her boyfriend dealt with this complication in the usual fashion of the guy meets gal, guy loses gal, and guy wins back gal formula. In the long run, everything turned out perfectly for them.
Ostensibly based on Pulitzer-prize winning novelist Jeffrey Eugenides' 1996 short story "The Baster," "The Switch" tweaks "The Back-Up Plan" premise. Aniston and Bateman play long-time best friends when our heroine hears her biological alarm clock ringing and opts for artificial insemination since she hasn't found Mr. Right. She solicits help from best friend Bateman to find the most suitable sperm donor. Predictably jealous, the Bateman character takes matters into his own hands and complications galore occur. Unlike "The Back-Up Plan," "The Switch" qualifies as a far funnier romantic comedy with richer situations, more interesting characters, and splendid performances. Aniston and Bateman forge chemistry together as a friendly couple who don't realize they are right for each other. Patrick Wilson, Jeff Goldblum, and Juliette Lewis provide solid support. The best acting in "The Switch," however, comes from the most crucial character in Allen Loeb's screenplay. Newcomer Thomas Robinson delivers a surprising performance as Aniston's on-screen preschooler. Not only is Robinson an adorable child , but he is also an accomplished thespian whose only previous credit was an episode of the canceled NBC-TV sci-fi series "Heroes."
Aristotle wrote in "Poetics" that character is the essential ingredient that drives the best comedy and drama. Co-helmers Josh Gordon and Will Speck and "Wall Street: Money Never Sleeps" scenarist Allan Loeb follow this dictum, and "The Switch" emerges as not only hilarious but also endearing. The action unfolds in New York City seven years ago as a biologically-challenged single woman, Kassie Larson (Jennifer Aniston of "Marley and Me"), takes the fateful step of having herself artificially inseminates before she becomes too old for children. She finds the perfect donor in a good-looking university professor, Roland (Patrick Wilson of "Watchmen"), who teaches feminist literature. Initially, Kassie receives no support from Wall Street stockbroker Wally Mars (Jason Bateman of "Juno") who is a hopeless hypochondriac. Kassie accuses Wally of being pessimistic, but he claims he is just being realistic. Anyway, Kassie has her baby, christens him Sebastian, and moves away for six years. Wally's life remains unchanged until she returns. Since she has uprooted herself to raise her son in more friendly surroundings, Roland has divorced his adulterous wife. Kassie and he start dating. The complication is that six-year old Sebastian (Thomas Robinson) hates Roland. Ironically, Sebastian prefers the company of Wally, and the two become virtually inseparable.
One day while Wally and Sebastian are riding a bus, another passenger remarks that they look like father and son. Wally informs her that Sebastian isn't his son. Nevertheless, Sebastian treats Wally as if he were his dad. Several occasions occur when Sebastian needs help, and he resorts to Wally. At one point, Sebastian leaves a friend's birthday party after a brawl with a bully and goes out of his way to walk 20 blocks to Wally's apartment. Later, Kassie leaves Sebastian with one of his friends so she can spend a romantic weekend with Roland. As it turns out, Sebastian has contracted head lice and his friend's mom wants him gone. Stuck far away in Michigan, Kassie implores her old friend Wally to treat Sebastian's lice infection until she can return on an overnight flight. The bond between Wally and Sebastian deepens until Wally wonders if he really is Sebastian's father.
Wally searches his memory about the night of Kassie's sperm donor party and remembers that Kassie's perennial best girlfriend, Debbie (Juliette Lewis of "Whip It"), gave him some of her mom's prescription medicine and he got drunk and stumbled into the bathroom where Roland had left his container of sperm. Accidentally, Wally spills Roland's sperm into the sink and decides to replace it. Nothing but feminine magazines are available, and he whips up his own concoction to a picture of TV news anchor Diana Sawyer and replaces Roland's sperm with it. Such is Wally's state of mind that he forgets what he has done until he notices that Sebastian imitates his personality in every aspect. Wally discusses the issue with his close friend and Wall Street colleague Leonard (Jeff Goldblum of "Silverado") and decides to let Kassie in on his secret. Every opportunity that Wally has to deliver this major revelation falls through until our misguided hero attends a get-together at Kassie's apartment where Roland plans to propose marriage to Kassie in front of his older brothers and parents. Imagine the reaction that Kassie has when Wally turns her world upside down with his revelation.
"The Switch" is a consistently funny comedy that doesn't rely on a laugh track or a lowest-common denominator script to make us laugh. Everybody, including newcomer Thomas Robinson, doesn't act as if they were consciously trying to be funny and their fully developed but eccentric characters are a wonder to behold. Typically, a movie with two directors is a surefire recipe for disaster, but neither Gordon nor Speck get in each other's way, and "The Switch" flows smoothly throughout its 101 minutes without convolution.
Ostensibly based on Pulitzer-prize winning novelist Jeffrey Eugenides' 1996 short story "The Baster," "The Switch" tweaks "The Back-Up Plan" premise. Aniston and Bateman play long-time best friends when our heroine hears her biological alarm clock ringing and opts for artificial insemination since she hasn't found Mr. Right. She solicits help from best friend Bateman to find the most suitable sperm donor. Predictably jealous, the Bateman character takes matters into his own hands and complications galore occur. Unlike "The Back-Up Plan," "The Switch" qualifies as a far funnier romantic comedy with richer situations, more interesting characters, and splendid performances. Aniston and Bateman forge chemistry together as a friendly couple who don't realize they are right for each other. Patrick Wilson, Jeff Goldblum, and Juliette Lewis provide solid support. The best acting in "The Switch," however, comes from the most crucial character in Allen Loeb's screenplay. Newcomer Thomas Robinson delivers a surprising performance as Aniston's on-screen preschooler. Not only is Robinson an adorable child , but he is also an accomplished thespian whose only previous credit was an episode of the canceled NBC-TV sci-fi series "Heroes."
Aristotle wrote in "Poetics" that character is the essential ingredient that drives the best comedy and drama. Co-helmers Josh Gordon and Will Speck and "Wall Street: Money Never Sleeps" scenarist Allan Loeb follow this dictum, and "The Switch" emerges as not only hilarious but also endearing. The action unfolds in New York City seven years ago as a biologically-challenged single woman, Kassie Larson (Jennifer Aniston of "Marley and Me"), takes the fateful step of having herself artificially inseminates before she becomes too old for children. She finds the perfect donor in a good-looking university professor, Roland (Patrick Wilson of "Watchmen"), who teaches feminist literature. Initially, Kassie receives no support from Wall Street stockbroker Wally Mars (Jason Bateman of "Juno") who is a hopeless hypochondriac. Kassie accuses Wally of being pessimistic, but he claims he is just being realistic. Anyway, Kassie has her baby, christens him Sebastian, and moves away for six years. Wally's life remains unchanged until she returns. Since she has uprooted herself to raise her son in more friendly surroundings, Roland has divorced his adulterous wife. Kassie and he start dating. The complication is that six-year old Sebastian (Thomas Robinson) hates Roland. Ironically, Sebastian prefers the company of Wally, and the two become virtually inseparable.
One day while Wally and Sebastian are riding a bus, another passenger remarks that they look like father and son. Wally informs her that Sebastian isn't his son. Nevertheless, Sebastian treats Wally as if he were his dad. Several occasions occur when Sebastian needs help, and he resorts to Wally. At one point, Sebastian leaves a friend's birthday party after a brawl with a bully and goes out of his way to walk 20 blocks to Wally's apartment. Later, Kassie leaves Sebastian with one of his friends so she can spend a romantic weekend with Roland. As it turns out, Sebastian has contracted head lice and his friend's mom wants him gone. Stuck far away in Michigan, Kassie implores her old friend Wally to treat Sebastian's lice infection until she can return on an overnight flight. The bond between Wally and Sebastian deepens until Wally wonders if he really is Sebastian's father.
Wally searches his memory about the night of Kassie's sperm donor party and remembers that Kassie's perennial best girlfriend, Debbie (Juliette Lewis of "Whip It"), gave him some of her mom's prescription medicine and he got drunk and stumbled into the bathroom where Roland had left his container of sperm. Accidentally, Wally spills Roland's sperm into the sink and decides to replace it. Nothing but feminine magazines are available, and he whips up his own concoction to a picture of TV news anchor Diana Sawyer and replaces Roland's sperm with it. Such is Wally's state of mind that he forgets what he has done until he notices that Sebastian imitates his personality in every aspect. Wally discusses the issue with his close friend and Wall Street colleague Leonard (Jeff Goldblum of "Silverado") and decides to let Kassie in on his secret. Every opportunity that Wally has to deliver this major revelation falls through until our misguided hero attends a get-together at Kassie's apartment where Roland plans to propose marriage to Kassie in front of his older brothers and parents. Imagine the reaction that Kassie has when Wally turns her world upside down with his revelation.
"The Switch" is a consistently funny comedy that doesn't rely on a laugh track or a lowest-common denominator script to make us laugh. Everybody, including newcomer Thomas Robinson, doesn't act as if they were consciously trying to be funny and their fully developed but eccentric characters are a wonder to behold. Typically, a movie with two directors is a surefire recipe for disaster, but neither Gordon nor Speck get in each other's way, and "The Switch" flows smoothly throughout its 101 minutes without convolution.
Tuesday, August 31, 2010
FILM REVIEW OF "HALLOWEEN" (1978)
John Carpenter's "Halloween" (**** out of ****) qualifies as both a trick and a treat.
First, the unlikely notion that an independently-produced horror movie made for a miserly $320-thousand could amass $75-million dollars and remain popular twenty-two years afterward constitutes quite a trick. Incidentally, Carpenter took twenty days to shoot "Halloween." Second, not only did "Halloween" catapult newcomer Jamie Lee Curtis to stardom {she reigned as the 'Scream Queen' in a spate of "Halloween" knock-offs, like Paul Lynch's "Prom Night" (1980) and Roger Spottiswoode's "Terror Train" (1980)} but also it spawned six sequels and two remakes of varying quality. Naturally, none surpasses the consummate skill and artistry of Carpenter's seminal slaughterhouse saga. Arguably, if Alfred Hitchcock's "Psycho" carved out a new sub-category for slashers among 1960s' horror movies, "Halloween" hacked out a niche in cinematic history when it revived the genre. According to producer Irwin Yablans, "Halloween 2" appeared primarily because scores of "Halloween" clones came out and coined considerable box-office success. Second, "Halloween" suffices as a treat because it focuses on far more than gratuitous blood & gore. Essentially, the film dwells on the cosmic issue of 'Evil' and Man's inability to combat both Evil and Fate as entities at work in our Universe.
Carpenter directs with commendable restraint considering the genre. Anybody who pans "Halloween" as tawdry and exploitative misses out on what elevates this minor chiller above its clones and makes it worth watching beyond the usual cursory viewings. Although it depicts savage violence, "Halloween" spills pints rather than buckets of blood. If you're counting, three females and two males perish. He doesn't rely on sophisticated special effects or ghastly prosthetic make-up appliances. He generates tension, suspense, and nerve-wracking horror by deliberately pacing the action and doling out shocks and surprises. "Halloween's" stark narrative simplicity propels it to its slang-bang ending. Carpenter and co-scenarist Debra Hill surgically pared down the plot to its absolute essentials. They relate a story with a beginning, middle, and an ending in straightforward fashion. Indeed, characterization remains deplorably one-dimensional, but the cast is convincing enough so it really doesn't matter. Moreover, they play roles that wouldn't experience radical growth over a 24 hour period, unless they wind up dying. Michael personifies Evil from start to finish. After he escapes from the Illinois State Hospital, Dr. Sam Loomis (Donald Pleasance of "You Only Live Twice") sounds the alarm: "The evil has gone from here!" Fate deploys Michael as an instrument, and Fate allows Michael to thrive with impunity in the end as the only truly phantasmagoric character.
Essentially, "Halloween" is a thriller with a monster for a killer. The horrific elements of Michael's villainous appearance and his supernatural qualities make this a chiller. Visually, Carpenter links a classroom discussion of Fate to Michael as the killer sits parked outside Laurie's school in a station wagon. Laurie notices the station wagon parked across the street from her school and spots the same station wagon later when her friend and she are walking down the street. However, Laurie doesn't lay eyes on Michael for the first time until she sees him in broad daylight standing on the sidewalk by a hedge. Furthermore, nothing superfluous clutters up the narrative, clocking in at a lean, mean 92 minutes. One scene depicts Dr. Loomis advocating Michael's prolonged incarceration in a mental institution. Of course, the squeamish should watch "Halloween" in the company of somebody responsible, since the film concerns some unsavory themes, such as a murderous juvenile, a lunatic on the rampage with a blood lust nothing except death can quench, and the security of hospitals charged with keeping these maniacs locked-up behind bars. The irony of a psychiatrist who totes around a revolver with a gun permit and acts like a vigilante who shoots first and ask questions afterward represents still another topic for discussion.
Carpenter and Hill confine the action to three acts. They set up the characters efficiently enough, introducing Michael first, then Dr. Sam Loomis (Donald Pleasence of "The Great Escape") and his nurse Marion Chambers (Nancy Stephens of "Russkies"), and finally Michael's victims. Laurie Strode, Annie Brackett, and Lynda van der Klok comprise the trio of high school girls/victims that Michael sets out to slaughter. While Annie and Lynda are sexually active sirens, Laurie is the "Girl Scout" of the group. She doesn't have a date for the school dance and is either shy or afraid to ask a guy out. She fits the classification of a sexually repressed girl, a character who typically survives the slasher because in a sense she reflects elements of his own repression. Once Michael makes the 150 mile drive to Haddonfield, the plot concerns when the characters converge on Lindsey Wallace's house where the murders transpire. Quotable dialogue reverberates throughout this slickly made white-knuckled thriller. During a telephone conversation, Laurie learns Annie has spoken to a guy the former has a crush on, and Laurie's responds: "Are you fooling around again? Well, I'll kill you if this is a joke." Despite a number of flaws and flubs, "Halloween" has managed to withstand the ravages of time. One big question the original left blank dealt with Michael's apparent obsession with Laurie Strode. "Halloween 2" accounts for this mystery in a way that "The Empire Strikes Back" would alter Luke Skywalker's destiny. Ultimately, Michael epitomizes Evil incarnate as the inexorable catalyst in horror movies, just as the Terminator evokes a similar quality in science fiction.
"Halloween" adheres to several horror movie conventions. First, mankind can vanquish Evil with a capital E in battles but cannot altogether conqueror it. Generally, the best horror movies provide closure of the worst sort. The heroes may survive, but so too may the villains. Sure, the improbable ending with a villain recovering not only from a fall from a balcony but also six bullets weakens the credibility of "Halloween." Nevertheless, successful horror movies require larger-than-life monsters, and Michael attains a legendary status at fade-out by being able to waltz away with six slugs in him. Happily, Donald Pleasance's Dr. Loomis doesn't react with either surprise or alarm at Michael's resilience. Bullets cannot stop Michael because he possesses supernatural qualities. Little Tommy refers to Michael as the 'Bogeyman' and assures Laurie that nobody can kill the 'Bogeyman.' At fade-out, Laurie asks Loomis if Michael were the 'Bogeyman,' and he affirms that fact. No, you don't have to watch "Halloween" only during the actual holiday itself to appreciate this seasonal chiller.
First, the unlikely notion that an independently-produced horror movie made for a miserly $320-thousand could amass $75-million dollars and remain popular twenty-two years afterward constitutes quite a trick. Incidentally, Carpenter took twenty days to shoot "Halloween." Second, not only did "Halloween" catapult newcomer Jamie Lee Curtis to stardom {she reigned as the 'Scream Queen' in a spate of "Halloween" knock-offs, like Paul Lynch's "Prom Night" (1980) and Roger Spottiswoode's "Terror Train" (1980)} but also it spawned six sequels and two remakes of varying quality. Naturally, none surpasses the consummate skill and artistry of Carpenter's seminal slaughterhouse saga. Arguably, if Alfred Hitchcock's "Psycho" carved out a new sub-category for slashers among 1960s' horror movies, "Halloween" hacked out a niche in cinematic history when it revived the genre. According to producer Irwin Yablans, "Halloween 2" appeared primarily because scores of "Halloween" clones came out and coined considerable box-office success. Second, "Halloween" suffices as a treat because it focuses on far more than gratuitous blood & gore. Essentially, the film dwells on the cosmic issue of 'Evil' and Man's inability to combat both Evil and Fate as entities at work in our Universe.
Carpenter directs with commendable restraint considering the genre. Anybody who pans "Halloween" as tawdry and exploitative misses out on what elevates this minor chiller above its clones and makes it worth watching beyond the usual cursory viewings. Although it depicts savage violence, "Halloween" spills pints rather than buckets of blood. If you're counting, three females and two males perish. He doesn't rely on sophisticated special effects or ghastly prosthetic make-up appliances. He generates tension, suspense, and nerve-wracking horror by deliberately pacing the action and doling out shocks and surprises. "Halloween's" stark narrative simplicity propels it to its slang-bang ending. Carpenter and co-scenarist Debra Hill surgically pared down the plot to its absolute essentials. They relate a story with a beginning, middle, and an ending in straightforward fashion. Indeed, characterization remains deplorably one-dimensional, but the cast is convincing enough so it really doesn't matter. Moreover, they play roles that wouldn't experience radical growth over a 24 hour period, unless they wind up dying. Michael personifies Evil from start to finish. After he escapes from the Illinois State Hospital, Dr. Sam Loomis (Donald Pleasance of "You Only Live Twice") sounds the alarm: "The evil has gone from here!" Fate deploys Michael as an instrument, and Fate allows Michael to thrive with impunity in the end as the only truly phantasmagoric character.
Essentially, "Halloween" is a thriller with a monster for a killer. The horrific elements of Michael's villainous appearance and his supernatural qualities make this a chiller. Visually, Carpenter links a classroom discussion of Fate to Michael as the killer sits parked outside Laurie's school in a station wagon. Laurie notices the station wagon parked across the street from her school and spots the same station wagon later when her friend and she are walking down the street. However, Laurie doesn't lay eyes on Michael for the first time until she sees him in broad daylight standing on the sidewalk by a hedge. Furthermore, nothing superfluous clutters up the narrative, clocking in at a lean, mean 92 minutes. One scene depicts Dr. Loomis advocating Michael's prolonged incarceration in a mental institution. Of course, the squeamish should watch "Halloween" in the company of somebody responsible, since the film concerns some unsavory themes, such as a murderous juvenile, a lunatic on the rampage with a blood lust nothing except death can quench, and the security of hospitals charged with keeping these maniacs locked-up behind bars. The irony of a psychiatrist who totes around a revolver with a gun permit and acts like a vigilante who shoots first and ask questions afterward represents still another topic for discussion.
Carpenter and Hill confine the action to three acts. They set up the characters efficiently enough, introducing Michael first, then Dr. Sam Loomis (Donald Pleasence of "The Great Escape") and his nurse Marion Chambers (Nancy Stephens of "Russkies"), and finally Michael's victims. Laurie Strode, Annie Brackett, and Lynda van der Klok comprise the trio of high school girls/victims that Michael sets out to slaughter. While Annie and Lynda are sexually active sirens, Laurie is the "Girl Scout" of the group. She doesn't have a date for the school dance and is either shy or afraid to ask a guy out. She fits the classification of a sexually repressed girl, a character who typically survives the slasher because in a sense she reflects elements of his own repression. Once Michael makes the 150 mile drive to Haddonfield, the plot concerns when the characters converge on Lindsey Wallace's house where the murders transpire. Quotable dialogue reverberates throughout this slickly made white-knuckled thriller. During a telephone conversation, Laurie learns Annie has spoken to a guy the former has a crush on, and Laurie's responds: "Are you fooling around again? Well, I'll kill you if this is a joke." Despite a number of flaws and flubs, "Halloween" has managed to withstand the ravages of time. One big question the original left blank dealt with Michael's apparent obsession with Laurie Strode. "Halloween 2" accounts for this mystery in a way that "The Empire Strikes Back" would alter Luke Skywalker's destiny. Ultimately, Michael epitomizes Evil incarnate as the inexorable catalyst in horror movies, just as the Terminator evokes a similar quality in science fiction.
"Halloween" adheres to several horror movie conventions. First, mankind can vanquish Evil with a capital E in battles but cannot altogether conqueror it. Generally, the best horror movies provide closure of the worst sort. The heroes may survive, but so too may the villains. Sure, the improbable ending with a villain recovering not only from a fall from a balcony but also six bullets weakens the credibility of "Halloween." Nevertheless, successful horror movies require larger-than-life monsters, and Michael attains a legendary status at fade-out by being able to waltz away with six slugs in him. Happily, Donald Pleasance's Dr. Loomis doesn't react with either surprise or alarm at Michael's resilience. Bullets cannot stop Michael because he possesses supernatural qualities. Little Tommy refers to Michael as the 'Bogeyman' and assures Laurie that nobody can kill the 'Bogeyman.' At fade-out, Laurie asks Loomis if Michael were the 'Bogeyman,' and he affirms that fact. No, you don't have to watch "Halloween" only during the actual holiday itself to appreciate this seasonal chiller.
FILM REVIEW OF "GOD FORGIVES, BUT I DON'T . . ." (ITALIAN-1967)
Before he became a film director, Giuseppe Colizzi served as Federico Fellini's production manager on "The Swindlers." The short-lived Colizzi helmed four of his six films with Terence Hill and Bud Spencer. Nevertheless, Colizzi belongs to a select handful of distinguished Italian western directors, such as Sergio Leone, Sergio Corbucci, Tonino Valerii, and Gianfranco Parolini--who imbued their oaters with an unmistakable aura of flair and style, doubling not only as director but also as writer. The first entry in an overlooked and underrated spaghetti western trilogy, Colizzi's "God Forgives, But I Don't" boasts the numerical distinction of pairing Hill and Spencer together for the first time after a foot injury forced lead actor Peter Martell off the picture. "Ace High" and "Boot Hill" followed. Hill and Spencer went on to achieve greater fame in Enzo Barboni's two "Trinity" features. Before Hill capitalized on comedy westerns and later modern day adventures, he proved himself as gunslinging Cat Stevens, a pistolero who found it just as easy to cross the line between good and evil as fire up a cheroot. Bronzed like a tawny Greek god with a deep masculine voice dubbed in by another actor and displaying admirable restraint in the stoic tradition of Clint Eastwood, Hill proved equally adept at portraying sober dramatic leads as well as lightweight, comic leads. Hill and Spencer are evenly matched by seasoned spaghetti western villain Frank Wolff who resembles Harpo Max with mutton chops.
"God Forgives, But I Don't" (***1/2 out of ****) seizes your attention from the start. A crowd in Canyon City awaits the arrival of a train at the railway depot with a brass band. The train trundles into the station, breezes past the surprised on-lookers, and crashes into a barrier at the end of the siding. A dead man with a bullet hole in his forehead tumbles out of a passenger coach when the door is thrown open. Colizzi presents a swift montage of bullet-riddled corpses and faces to highlight the enormity of the massacre. During the excitement, a wounded passenger stumbles off the other side of the train and flees without attracting attention. Eventually, we learn that the murderous outlaw chieftain Bill San Antonio (Frank Wolff of "A Stranger in Town") and his gang of despicable desperadoes held up the train and stole $100-thousand in gold.
Colizzi shifts the action to a poker game. Cat Stevens (Terence Hill of "The Leopard") looks as cool as ice as he gambles with a quartet of hard cases. A dispute arises over the conduct of the game and a brawl breaks out. Cat whips his adversaries with his fists but in the process trashes the premises. Cat's trademark gesture is pushing a cheroot up and down with his fingers. Later, Cat's friend Hutch Bessy (Bud Spencer of "The 5-Man Army") finds him at a remote waterhole and tells him about the MK&T train robbery. Hutch found the sole survivor of the train massacre. Before the passenger perished, he told Hutch about Bill San Antonio's role in the robbery. Hutch describes Bill's clever plan. The outlaws rode 150 miles to the halfway point between El Paso and Canyon City and then rode in circles to make their presence known at that point. The gang turned south, followed the river, and then galloped back to El Paso. They watched as the gold loaded onto the train and then bought tickets, and waylaid the train 20 miles from the Mexican border. After he robbed the train, Bill San Antonio had everybody on board murdered and sent the train onto Canyon City.
Initially, Cat refuses to believe Bill could have planned and participated in the hold-up. Colizzi flashbacks to a scene in a shack where Bill and Cat squared off against each other in a showdown after Bill's henchman Bud (José Manuel Martín of "The Savage Guns") sets the building ablaze. Cat guns down Bill and Bill's men allow him to leave alive. Later, they come after him and try to kill him. Meanwhile, Bill is never heard or seen again until the MK&T robbery. The bank took an insurance policy out on the stolen money and Hutch plans to find the gold and collect the insurance. He wants Cat to team up with him so they can locate the loot. Not only did Bill San Antonio not die in the fire but he also robbed the train. Garrulous desperado that Bill is, he explains what happened and why. The banker and Bill were in cahoots. When things got too hot, the banker recommended that Bill disappear for a spell. Cat sneaks into Bill's hideout one night, blunders into a trap, and gets strung up by his heels. Nevertheless, he manages to defend himself against his opponents. Hutch intervenes and they steal the $100-thousand dollars in gold.
Neither Cat nor Hutch has an easy time holding onto the gold while surviving Bill and his gang. Numerous shoot-outs occur with a take-no-prisoners mentality. Colizzi models loquacious Bill San Antonio after Eli Wallach's Mexican bandit Calvera from "The Magnificent Seven." Bill feels responsible for his cronies and wants to take care of them. Blue-eyed Terrence Hill has the stew beaten out of him and nearly drowns in one scene. Hutch displays his Herculean strength both in fistfights and in shouldering a chest packed with gold. The same friendly rivalry that characterized Trinity and Bambino's relationship in the "Trinity" appears to have been foreshadowed by Colizzi. The final showdown between Bill and Cat takes the shoot-out at the beginning to the next level. Good dialogue, rugged laconic heroes, grimy trigger-happy hooligans, atmospheric settings, Alfio Contini's impressive widescreen photography, and the scenic sun-drenched plains of Spain make "God Forgives, I Don't" a solid, satisfying saga, head and shoulders above the average spaghetti western.
"God Forgives, But I Don't" (***1/2 out of ****) seizes your attention from the start. A crowd in Canyon City awaits the arrival of a train at the railway depot with a brass band. The train trundles into the station, breezes past the surprised on-lookers, and crashes into a barrier at the end of the siding. A dead man with a bullet hole in his forehead tumbles out of a passenger coach when the door is thrown open. Colizzi presents a swift montage of bullet-riddled corpses and faces to highlight the enormity of the massacre. During the excitement, a wounded passenger stumbles off the other side of the train and flees without attracting attention. Eventually, we learn that the murderous outlaw chieftain Bill San Antonio (Frank Wolff of "A Stranger in Town") and his gang of despicable desperadoes held up the train and stole $100-thousand in gold.
Colizzi shifts the action to a poker game. Cat Stevens (Terence Hill of "The Leopard") looks as cool as ice as he gambles with a quartet of hard cases. A dispute arises over the conduct of the game and a brawl breaks out. Cat whips his adversaries with his fists but in the process trashes the premises. Cat's trademark gesture is pushing a cheroot up and down with his fingers. Later, Cat's friend Hutch Bessy (Bud Spencer of "The 5-Man Army") finds him at a remote waterhole and tells him about the MK&T train robbery. Hutch found the sole survivor of the train massacre. Before the passenger perished, he told Hutch about Bill San Antonio's role in the robbery. Hutch describes Bill's clever plan. The outlaws rode 150 miles to the halfway point between El Paso and Canyon City and then rode in circles to make their presence known at that point. The gang turned south, followed the river, and then galloped back to El Paso. They watched as the gold loaded onto the train and then bought tickets, and waylaid the train 20 miles from the Mexican border. After he robbed the train, Bill San Antonio had everybody on board murdered and sent the train onto Canyon City.
Initially, Cat refuses to believe Bill could have planned and participated in the hold-up. Colizzi flashbacks to a scene in a shack where Bill and Cat squared off against each other in a showdown after Bill's henchman Bud (José Manuel Martín of "The Savage Guns") sets the building ablaze. Cat guns down Bill and Bill's men allow him to leave alive. Later, they come after him and try to kill him. Meanwhile, Bill is never heard or seen again until the MK&T robbery. The bank took an insurance policy out on the stolen money and Hutch plans to find the gold and collect the insurance. He wants Cat to team up with him so they can locate the loot. Not only did Bill San Antonio not die in the fire but he also robbed the train. Garrulous desperado that Bill is, he explains what happened and why. The banker and Bill were in cahoots. When things got too hot, the banker recommended that Bill disappear for a spell. Cat sneaks into Bill's hideout one night, blunders into a trap, and gets strung up by his heels. Nevertheless, he manages to defend himself against his opponents. Hutch intervenes and they steal the $100-thousand dollars in gold.
Neither Cat nor Hutch has an easy time holding onto the gold while surviving Bill and his gang. Numerous shoot-outs occur with a take-no-prisoners mentality. Colizzi models loquacious Bill San Antonio after Eli Wallach's Mexican bandit Calvera from "The Magnificent Seven." Bill feels responsible for his cronies and wants to take care of them. Blue-eyed Terrence Hill has the stew beaten out of him and nearly drowns in one scene. Hutch displays his Herculean strength both in fistfights and in shouldering a chest packed with gold. The same friendly rivalry that characterized Trinity and Bambino's relationship in the "Trinity" appears to have been foreshadowed by Colizzi. The final showdown between Bill and Cat takes the shoot-out at the beginning to the next level. Good dialogue, rugged laconic heroes, grimy trigger-happy hooligans, atmospheric settings, Alfio Contini's impressive widescreen photography, and the scenic sun-drenched plains of Spain make "God Forgives, I Don't" a solid, satisfying saga, head and shoulders above the average spaghetti western.
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