Tremors

Tags

1990's, Bobby Jacoby, Comedy, Finn Carter, Fred Ward, Horror, Kevin Bacon, Michael Gross, Reba McEntrie, Ron Underwood, Tremors, Victor Wong

Film Title

Tremors

Director

Ron Underwood

Starring

• Kevin Bacon as Val McKee
• Fred Ward as Earl Bassett
• Finn Carter as Rhonda LeBeck
• Michael Gross as Burt Gummer
• Reba McEntrie as Heather Gummer
• Bobby Jacoby as Melvin
• Victor Wong as Walter Chang

A fine horror comedy that lovingly sends up and celebrates 50’s monster movies, Tremors is a fun ride and a film that has you laughing just as much as biting your nails.

Handy men Val McKee and Earl Bassett are growing bored with their lives in the desert town of Perfection, Nevada. Val is the younger of the men and more than a bit jocular, Earl is the older and more pragmatic of the two. While neither are the sharpest or brightest, they know that they can’t just doing menial jobs for their lives. Deciding to pack up and leave, their short-lived exit from town is cut short by the discovery of a dead body. The man in question is found up a pylon, dehydrated after being too afraid to climb down. Shortly following this is more gruesome discoveries and the men encounter seismologist Rhonda LeBeck, who has been investigating unusual activity in the desert area. It transpires that worm like creatures have emerged from beneath the ground and been attacking the residents, taking them underground for sustenance. With help from Rhonda, it is deduced that vibration and noise is what attracts them, leading the survivors to think up ways to communicate without being caught and plot some form of break from the growing onslaught . Holed up back in the dusty town, Val and Earl take residence in the convenience store with some of the other residents. But these creatures are getting smarter and more vicious, leading more frequent attacks .It’s now up to the group to come up with some way to escape being the next meal of these ferocious creatures.

Ron Underwood has a knowing sheen to his direction; gladly combining the humorous and shocking into one big ride. His efficient pacing makes certain that no flab is found and we get straight into the action, while still allowing the characters to take centre stage. The small community all have their respective quirks and foibles, which is pretty fun to see as they slowly band together to survive and defend themselves against the creatures. It’s a simple story, but Tremors knows this and with a winking eye to the audience, acknowledges what you’d expect from a 50’s creature feature and adds its own brand of things to the mix. Things especially hit a high point when the residents are forced onto the roof, while still attempting to conjure a plan of escape as well as keeping noise to a minimum. Having to be extremely careful not to alert the creatures of their presence The design of the worm like critters is through practical effects, and it looks well-worn by now, yet this adds something else to Tremors. What Tremors most has going for it is the humour, which is delivered in spades. The running gag of Val and Earl being unable to leave town, at first because of trivial things and soon quite deadly events, is hilariously done and plays throughout the darkly comic heart of Tremors. Horror and comedy is sometimes a difficult tightrope to walk, but Tremors does it extremely well. It ensures that the laughs are very present, but that it can ratchet up suspense and deliver the horror goods when required. Through quick point of view shots, the nasty creatures attack and we are thrown into the fray as they wage war on the residents. It’s a slice of entertainment of the highest order, complimented by a tongue-in-cheek and jaunty score that fits just right with the tone of the movie.

Kevin Bacon and Fred Ward lead the way as the two unlikely heroes of the piece. They are likable guys who while not the smartest people ever, have enough gumption and attitude to take on the terror in front of them. They are bungling, prone to disaster ,funny yet nifty when it comes to being practical and using what they have at their disposal.  A lot of the effectiveness comes from the chemistry between both actors, who clearly are having a blast and enjoy working with each other as the amusing and heroic duo. It wouldn’t be the same without Bacon and Ward in these roles, adding a goofy and irresistible charm to it. Smarts are provided by Finn Carter’s scientist, who is the real brains of the piece and a woman who can take action effectively too when the occasion calls for it. Stealing a lot of the show however is Michael Gross; portraying the war-obsessed and tooled up Burt Gummer with a boisterous personality and wicked gleam in his eye. His attitude and presence are both funny and hopeful, because at first his paranoid antics regarding a new war are laughed at, before coming in extremely useful as the horror rises. Reba McEntrie is his wife, who shares his obsession and love of firearms, while there is Bobby Jacoby as the town brat and Victor Wong as the convenience store owner whose place becomes a shelter.

An excellent pastiche of B-movies mixed with more of contemporary sensibility, it’s hard not to enjoy Tremors for just how much of a blast it is. Never taking itself too seriously, Tremors is an all round good time for horror fans who like their movies with humour.

Advertisements

White Squall

Tags

1990's, Adventure, Balthazar Getty, Based on a true story, Caroline Goodall, Coming-of-Age, Eric Michael Cole, Jeff Bridges, Jeremy Sisto, John Savage, Julio Oscar Mechoso, Ridley Scott, Ryan Phillippe, Scott Wolf

Film Title

White Squall

Director

Ridley Scott

Starring

• Jeff Bridges as Captain Christopher “Skipper” Sheldon
• Scott Wolf as Chuck Gieg
• Jeremy Sisto as Frank Beaumont
• Ryan Phillippe as Gil Martin
• Eric Michael Cole as Dean Preston
• Balthazar Getty as Tod Johnstone
• Caroline Goodall as Alice Sheldon
• John Savage as McCrea
• Julio Oscar Mechoso as Girard

Inspired by true events of a and the storm they ran into along the way, Ridley Scott’s White Squall is an underrated adventure/coming of age film that while a tad formulaic, is riveting entertainment and spectacle throughout.

It is the early 60’s and a group of teenagers sign up to sail on a ship known as the Albatross for several months. The curriculum is both a mixture of scholarly work and more importantly the practical seafaring variety. The ship is commanded by experienced and tough Captain Christopher Sheldon, who is referred to throughout as Skipper. He is a take no prisoners captain who doesn’t tolerate slacking or idleness. The ship also has Skipper’s wife and medic Alice, English teacher McCrea and cook Girard on board. The main boys comprise of personable and searching Chuck Gieg(who also functions as narrator), the much abused and insecure rich kid Frank Beaumont, timid and vulnerable Gil Martin, misbehaving show off Dean Preston and wise-cracking Tod Johnstone . Their voyage will take them through the South Pacific and the Caribbean, and be a rites of passage for all. At first, the ragtag group of recruits is at odds with Skipper’s methods and continually rebel. His rigorous training takes flight as he expects them to learn discipline, respect and teamwork while aboard. Not that this will be easy as the boys test him with all they’ve got in various ways. He however is not above this challenge and enforces his authority with his tests and  Gradually, a newfound respect and sense of teamwork is discovered among them all. They all manage to bond together to form a skilled set of young men, with Skipper growing quietly fond and protective of them. Experiencing misadventures and mishaps binds them as a group and the training from Skipper more than pays off. Yet just as everyone is coming together, disaster lurks in the distance. They find themselves coming into the view of a ferocious storm, which will test each and every one of them as danger approaches.

Within Ridley Scott at the helm, you know the direction isn’t going to disappoint. And Scott brings his trademark eye for visuals to this exciting story, while still getting to the human heart of the themes of survival and camaraderie. Scott has this tale under his command and allows us time to learn about the crew before disaster hits later on. Spectacle is something Ridley Scott does superbly, but his equally excellent building of emotion and heart is also worthy of praise, particularly in White Squall. Gorgeous vistas and sights are glimpsed, presenting life at sea as something ripping but just as easily challenging and not for the weak of heart. The coming of age aspects of White Squall are far from original but we’ll plated and envisioned. It helps that you buy into the initially green boys growing up and after scrapping and disagreements in the beginning, can be there for each other and pull their weight in times that it is needed. The movie isn’t perfect however, with some of it really going too slow. I believe that because you know imminent tragedy will come you are waiting for it to happen, and it can make you impatient. This presents both a slight flaw and a positive; the build up at least establishes quite a few of the characters to us and let’s us observe their changes under the tutelage of the Skipper, while it can get to be a chore when you’re anticipating the big set piece to flower. Any in pace is however made up when the storm hits and we are dealt an exciting and emotion driven wallop. Using fast cuts, slow motion and stirring yet tense music, the scene is an extended action piece that is mightily impressive in almost every aspect. This intense and ferocious scene where we see the boys go beyond everything they’ve learned can to survive and face danger head on is one of considerable impact and vision. I can’t wax lyrical enough about this scene and what it accomplishes, both on an action level and on emotional clarity. The ending chapter feels a tad tacked on, but can be forgiven for what has come before. A dramatic score is just the ticket for this movie, finding both beauty and danger in its rhythms.

Jeff Bridges exudes a tough, compelling yet fair persona as the captain, mostly referred to as Skipper. He’s the kind of man to keep you in line but reward you if you comply and be part of the team. Bridges boasts a dignity and wry wisdom that inspires both admiration and trepidation among the boys. For me, Jeff Bridges has always been a fine actor when he quietly and subtly gets into part, which is what he does in White Squall. A sea-captain often allows the opportunity to overact and be loud, but Bridges has a more disciplined and nuanced angle that is largely more effective than over dramatic antics. You believe him as this leader because if the commanding energy and the fact that he doesn’t care whether his crew likes him, as long as they pull together even needed. A finely tuned and thoughtfully played performance from the great Jeff Bridges is what we get. Scott Wolf is the main eyes and ears of the film, providing the narration and likable attitude of the movie. He has a certain wonder in his eyes as he observes the events on the ship and he makes a really great lead character. Jeremy Sisto is very impressive, digging into the troubled mind of a spoiled kid, constantly berated by his father and singled out. If this kid could only get a break, he might be able to flourish. Ryan Phillippe is appropriately scared and in a muddle, mainly down to the character feeling he is so weak in all of this, when he’s actually pretty smart. The classic bully comes in the form of Eric Michael Cole, who reveals that he’s really a shy person with no self-esteem that is complimented by Balthazar Getty as the know it all joker. Though these characters feel rather archetypal in the scope of things, they are acted with sincerity. While the previously mentioned actors get parts that they can work with, the rest are awash in a sea of white T-shirts and suntan. As the main woman in the film, Caroline Goodall isn’t given a whole lot to do, but still shows her mettle when the occasion calls for it. John Savage provides some comic relief as the ship’s sonnet quoting teacher along with Julio Oscar Mechoso.

While it’s nothing particularly new, White Squall succeeds in the strength of its story, acting and command under Scott’s stylish yet emotive and exciting direction. For my money, this is a pretty undervalued movie in Scott’s filmography that deserves a watch.

Party of Five Season 4

Tags

1990's, Jennifer Love Hewitt, Jeremy London, Lacey Chabert, Matthew Fox, Neve Campbell, Party of Five, Party of Five Season 4, Paula Devicq, Scott Wolf

We rejoin the Salinger siblings navigating through new challenges that life presents in Party of Five Season 4. It may not reach the heights of Season 3, but it still has its moments to treasure. Be warned, spoilers may well follow in my review of this fourth season of the dramatic show.

Bailey(Scott Wolf) is on the mend and getting back to himself after his crippling battle with alcohol last season. He has been supported by Sarah(Jennifer Love Hewitt), who has forgiven him for involving her in the near fatal car accident months back. But Sarah’s parents don’t see it that way, they file charges of DUI against Bailey. As the trial gets underway and seeing that everyone is willing to sacrifice things for his mistakes, Bailey accepts a plea bargain which leads to a suspended sentence for him. Yet even though he’s making amends, he still finds that the impact of his actions follows him around and won’t let go. Luckily, he does discover a job that also ties in with what will happen to Sarah. Sarah moves out from her parents, feeling that they have victimized Bailey unfairly. Finding out that life independent can be difficult, she finds a place where she enlists Bailey to help her be a manager to an apartment block. The two are now pursuing a platonic friendship as they become managers and maintenance to the tenants of the building. Around this time, Bailey meets Annie; one of the residents who is also a recovering alcoholic. Yet is Bailey ready to commit to a relationship just as his recovery is starting to go well? Charlie(Matthew Fox) is now properly head of the family, having grown up into the role he never really wanted. As the season starts, he is annoyed that he can’t find some romantic happiness. He also bumps into Kirsten(Paula Devicq), who is now remarried to a doctor and back on track following her depression. And though Charlie begins a brief relationship with someone else, he still carries a torch for her. This however takes a backseat as Charlie’s tiredness that he thinks is down to his overworking is diagnosed as Hodgkin’s Disease. he at first only confides in Kirsten. His anger and scared mind are laid bare as he undergoes treatment and the family rallies around, though it proves to be a strain. Julia(Neve Campbell) and Griffin(Jeremy London) are married, with Julia returning from travels to life as a wife. Yet while happy to be married to Griffin after all the struggles, she is still attempting to find her identity. She must also deal with the fact that she feels a bit disconnected from her family, having spent so much time with them yet wants to cut out on her own. This leads her to try new things, yet ultimately makes her get a little bit selfish. Griffin meanwhile discovers his new business is not a cakewalk as he finds a cash flow problem and makes the mistake of accepting a loan off a seemingly helpful man, who becomes something of a loan shark. This leads to money woes for the two, with Julia having to do what she can to provide and Griffin attempting to get them out if this hole. All of this puts a massive strain on their union. Claudia(Lacey Chabert) is now in high school and trying to fit in, and finding it a hard slog. She is tired of people treating her like a small child and wishes to be taken more seriously. Finding that she must grow up more herself, especially after her hopes of romance with a boy are dashed, Claudia still resentfully acts out to get her family’s attention and due to a feeling of loneliness. Can the family hold it together and weather the storm?

Coming off such a dark and engrossing last season, I think it was inevitable that Season 4 might not measure up, it still has plenty going for it. Though I found some of the stories lacked the pull of past , there is still something immensely watchable about Party of Five. The main stories that I didn’t appreciate or enjoy was the one of Bailey getting with Annie, whose many troubles only posed more or a burden for a recovering Bailey . For one, Bailey had already gone through hell and back with his alcoholism, so why did they have to include Annie? It isn’t that the story is bad, it’s just that alcoholism was dealt with so realistically and honestly in Season 3, that it feels a bit superfluous to use it again. Other little sub-plots are decent and sometimes diverting, yet some of them go nowhere and end up superfluous. I did like later on when Charlie starts a romance with Daphne, an uninhibited woman who works as a stripper. They are opposites, but I liked the unpredictable vibe they have. The saving grace here is the overall impact of Charlie’s illness that bears heaviest and most deeply on Season 4.

The Salinger family repeatedly drift apart and then come back into closeness, just like any family does. And while the individual stories have their moments, the subject of family and its many facets is still the successful force of Party of Five. It’s been the main selling point and chief weapon in its arsenal and one that is still prevalent in the fourth season. The reliability and sometimes hard sacrifices are evident here, as the siblings realise how much their lives have changed and how things have turned out differently for each of them. Charlie’s battle with Hodgkin’s  and the reactions of the family to it are a manor dramatic high point, sensitively observed and credibly performed. Even though everyone has a different way of coping with the news, they all see that banding together, despite differences, is the only way to get their brother through his trying time. It feels like how a family would react; with obvious worries, trepidation and uncertainty, but all unite by a common love for their sibling. Plus, the inevitable fall out of these pressures, particularly confused Claudia’s acting out and skipping school, gives an emotional depth and honesty to it all. The Salinger’s are frequently at the brink of being pulled apart, but somehow manage to get through a hell of a lot. The writing ensures that we do care about their struggles in the long run and boy the show still knows how to get your emotions working. And special credit must be given to ‘Go Away’, the finest episode of the season. While Charlie awaits news of a crucial batch of tests, he, Bailey and Julia travel to a cabin they frequented as children. Claudia confides in Kirsten about her fears of Charlie dying, while at the cabin, the rest of siblings are dealing with their own struggles. old wounds are opened and slowly some resolution looks like it could be on its way, after much revealing conversation on how their lives have been impacted by their parent’s death. It’s one of those episodes that really allows things to be eventually expressed and for a bigger meaning to come in.

The ever dependable cast is on hand for great work that registers beautifully. Matthew Fox movingly displays the leadership Charlie has gained that is curtailed by the devastating blow of illness. He doesn’t want to admit that he is sick, but simply carry on as normal. Which is obviously going to be difficult, but you do feel bad on Charlie mainly due to the sympathetic work of Matthew Fox. Scott Wolf successfully charts Bailey’s recovery, that isn’t easy, but is worthwhile in establishing him again as a caring guy pulling his life back together. While he still has struggles, Bailey is now back to the amiable guy he was before, albeit one who has been through hell and managed to get himself sorted out. Neve Campbell is up to the task of making Julia both selfless and alternatively selfish, and yet you still can’t hate her. Julia is at the biggest crossroads of her life( wrestling with doubt and pangs of regret)  and feels that she has sacrificed enough for everyone else, making her occasional bout of self-absorption pretty reasonable. And as Campbell is adept at depicting the frequently misguided but longing Julia, you do feel for her. Lacey Chabert continues to impress as troubled Claudia, who is really having a rough time with everything that has transpired. She has for someone so young been through the wringer and Chabert is a mature performer who pulls off the melancholy confusion of Claudia. Jennifer Love Hewitt isn’t given as much to do as before, but her sweetness and sensitivity playing Sarah are still there in lovely fashion. And with regards to Jeremy London as the hopelessly unlucky Griffin, while the issue of him never amounting to anything is overplayed, London finds sympathy in there too. Paula Devicq returns more frequently here, and captures how Kirsten may be married, yet still has a love of Charlie that won’t ever go away.

So while it lacks some of the pull of past seasons, Season 4 of Party of Five has enough to recommend on the dramatic front.

Ever After

Tags

1990's, Andy Tennant, Anjelica Huston, Dougray Scott, Drama, Drew Barrymore, Ever After, Historical Drama, Jeanne Moreau, Judy Parfitt, Megan Dodds, Melanie Lynskey, Patrick Godfrey, Romance, Timothy West

Film Title

Ever After

Director

Andy Tennant

Starring

• Drew Barrymore as Danielle de Barbarac
• Anjelica Huston as Baroness Rodmilla de Ghent
• Dougray Scott as Prince Henry
• Megan Dodds as Marguerite
• Melanie Lynskey as Jacqueline
• Timothy West as King Francis
• Judy Parfitt as Queen Marie
• Patrick Godfrey as Leonardo da Vinci
• Jeanne Moreau as Grand Dame

The Cinderella story is given a lively and entertaining retelling, with a fresh historical fiction slant and modern view of the heroine. Ever After boasts heart and good humour, along with some unexpected touches that give the often told story a new coat of shiny paint.

In Renaissance France, little Danielle de Barbarac lives with her caring father. She never knew her late mother and has been raised with kindness by her father on his farming estate. Her father marries the Baroness Rodmilla de Ghent, who comes with her two daughters Marguerite and Jacqueline. Tragedy strikes when Danielle’s father dies following a heart attack and the nastiness of the Baroness really emerges. Years later, Danielle has grown into a beautiful young woman who has been reduced to a life of servitude under her stepmother. Jacqueline is nice to Danielle, but often stays quiet as she is frightened of her mother. The estate has fallen into ruin, while most of the servants have been cruelly sold and Rodmilla frequently spends money she hasn’t got trying to afford a life of luxury she thinks she’s entitled too. Though frequently mistreated by her stepmother and spiteful Marguerite , her spirited demeanor and feisty personality provide her with the right temperament to not simply be a doormat for others. Danielle is no ones fool and is a girl who will speak her mind when she’s pushed too far. One day, she encounters a must unexpected visitor; the dashing Prince Henry. He is attempting to evade his Royal protocol of an arranged marriage and tussles with Danielle when he tries to steal her father’s horse. He offers her payment if she remains silent about seeing him. This fleeting meeting doesn’t mean much to either at first, but it sets up that they will soon meet under more different circumstances. Shortly after, using the money he gave her, Danielle attempts to buy back a servant that her stepmother sold. Dressing up in her mother’s prized dress, Danielle once again meets Henry, who slowly becomes more curious about her. Her passionate manner stirs something within Henry and Danielle too develops feelings, even though he believes she is a member of nobility. Meanwhile, Rodmilla is plotting a way back into court and hearing that Prince Henry is expected to find a wife, sees snotty Marguerite as her ticket to prominence again. As Henry and Danielle fall further into love and she wears down his snobby attitude, complications arise with Danielle feeling guilty about having to hide her true identity. Add to this the presence of wise Leonardo da Vinci, who acts as something of a guardian angel, and it’s about to get fun and adventurous.

When doing an adaptation of a well-known story, things can go either way. You can be overly traditional or go down a fresh path. Ever After takes the latter road, though it manages to still reference the original source material. Andy Tennant strikes a nice, sprightly balance with the two throughout Ever After. The magical fantasy of other versions is stripped away to focus on the budding romance and spirit of the heroine. There are still touches of tradition to be found( the masked ball and the glass slipper) but everything else discovers a fresh and vibrant take on the material and is all the better for it. framing device employed here. In it, we witness an old duchess telling the ‘real story’ of Cinderella to The Brothers Grimm. Through this usage, we get an old storybook feeling but one that is more fun and modern than a lot of other versions. The fact that it presents the story as being a legend is also a cause to like Ever After, further placing it as one of the most interesting interpretations of the tale. The romance is heightened in Ever After, finding time to develop Danielle and Henry as gradual lovers with distinct personalities. Their encounters have a charm that reminded me of an old screwball comedy, with them running into one another and not quite knowing what to make of the other in the confusion. Danielle is especially well written and defined, coming across as resourceful, kind and full of spirit. Her primary goal isn’t to discover a prince( though romance obviously does figure into things) but to help those closest to her. It is definitely the most independent and tomboyish version of Cinderella there is and for that, one of my favourites. There are languors in the pacing in patches, but the irreverent and playful events in the film more than compensate in their effectiveness. The visual style is breathtaking; largely consisting of a gilded sheen that ties in with the setting and the content on display. The location work is as sumptuous as the elegant costume design on show. And of course, the film wouldn’t be the same without its wistful and lively score to keep things generously fun and engaging.

Drew Barrymore makes for a beautifully spirited and reliable heroine in the form of Danielle. Far removed from the sometimes passive and needing a man to save her incarnations of the Cinderella, Barrymore deftly translates a feisty toughness and genuine sympathy in the part. Danielle is very much a modern woman in an old-time, a strength that the luminous Barrymore plays to and delivers on with her likable charm and clever wits. Anjelica Huston is delightfully malicious and conniving as the stepmother, who dishes out biting remarks and executes underhand sneakiness like a pro. You really can see that Huston is having a ball being so wicked and even a little seductive to. Such diva like personality and slyness is ideal and splendidly conveyed by the fine Anjelica Huston. Dougray Scott is given more to do than most with the Prince Charming part. Scott plays the snobbish yet searching Henry with just the right amount of charm, restlessness and humour that causes him to spark with Danielle. And the gentle, bristling and growing chemistry between him and Barrymore is a lovely sight to witness. Megan Dodds is a bratty and selfish presence as the quite nasty stepsister, while Melanie Lynskey sweetly plays the kinder sibling. Humour and great support comes courtesy of Timothy West and Judy Parfitt, who star as the king and queen who can’t quite seem to work out their son. And special mention must go to Patrick Godfrey’s work as Leonardo da Vinci, whose inspiring speeches and pushes for romance helps Danielle and Henry get closer. The appearance of Jeanne Moreau as the narrator adds immense class and room to reflect, as her voice is so engaging and full of deep wisdom.

A lovingly rendered and fun take on a classic story, Ever After springs to life with both intelligence and care. It all contributes something strikingly modern film with a great protagonist who is anything but a damsel.

Guncrazy

Tags

1990's, Billy Drago, Crime, Drama, Drew Barrymore, Guncrazy, Ione Skye, James LeGros, Joe Dallesandro, Michael Ironside, Tamra Davis

Film Title

Guncrazy

Director

Tamra Davis

Starring

• Drew Barrymore as Anita Minteer
• James LeGros as Howard Hickok
• Billy Drago as Hank Fulton
• Michael Ironside as Kincaid
• Joe Dallesandro as Rooney
• Ione Skye as Joy

A crime drama of two abused souls and lovers gaining what they consider power through automatic weapons in an unfair world, Guncrazy is pretty compelling in how it establishes the doomed love between the two misfits and the tragic consequences of it all. With effective performances from Drew Barrymore and James LeGros, plus some eye-catching direction from Tamra Davis in her debut, Guncrazy is a film worthy of attention.

Anita is a lonely teenager who is constantly bullied and harassed by schoolboys and sexually abused by her absentee mother’s boyfriend Rooney, who she lives with in his trailer. She retains something of a hopeful demeanor, though her way of sleeping with any guy, even if they treat her horribly, makes her an outcast and bad news to many in her desolate town. Her dire existence takes a turn when her geography teacher assigns a project of finding pen pals to converse with. While others write to people from around the world, Anita finds correspondence with Howard Hickok, a convict who is serving term for a manslaughter charge. As soon as she begins receiving his letters, Anita is madly in love as Howard talks to her with a sincerity and kindness that she’s never known. Adopting Howard’s love of guns, Anita gets slimy Rooney to teach her how to shoot. When he sexually abuses her again, she uses her newfound prowess to kill him. Howard becomes available for parole and Anita manages to persuade slightly zany local preacher and part-time mechanic Hank Fulton to give him a job within both capacities and vouch for him. Upon Howard’s arrival, him and Anita completely give themselves to the other. Howard is far from a hardened criminal; instead seeming vulnerable and tragic, and only using a gun when he can’t think of another way to get out of a situation. He feels a gun is making up for the fact that he is impotent, but Anita is actually happy that for once a man doesn’t want to take advantage of her. Meanwhile, stern local parole officer Kincaid doesn’t like the look of Howard and makes this feeling known to him, saying he believes he should never have been let out of jail. The two become besotted with each other, eventually marrying after Hank catches them together and as both of them have used the church to help themselves, but largely because they are infatuated with the presence of the other. Yet while attempting to get through the unfair and cruel life each has experienced, the gun lust that influences both takes over and things spiral. As they stumble into accidental killing that mounts to a body count and forces them to flee, the spectre of tragedy hangs over runaways Anita and Howard, getting closer by the second.

Considering it was her directing debut, Tamra Davis did a commendable job with the material and invested it with quite a bit of emotion. She never condones the actions of the protagonists, rather presenting them as two list people getting some feeling of illusory power with something dangerous. Davis doesn’t glamorize gun use, but more examines the reasons why Anita and Howard would become so enamoured with them. The run down and festering setting for a large chunk of Guncrazy points to the isolation and holed up feeling, envisioned by Tamra Davis through an attention to detail that is markedly unvarnished. Guncrazy features quite a lot foreshadowing through various visual imagery and some of the dialogue from Hank, which hints at darkness and turmoil even when someone is trying to gain salvation. Anita and Howard are basically doomed from the get go; stemming from the society around them and the mistreatment by others. By using firearms, they believe they have some control over their lives for once. Howard mainly obsesses over them as he sees them as the solution to problems and probably a symbol of manhood that he feels he lacks. While Anita adopts his love as it gives her what she considers strength to finally stand up for herself, starting with Rooney who pays the price for all the horror he has put Anita through. Some of it over stretches into melodrama and occasionally float into slow-moving, though there are enough touches to make Guncrazy still watchable and different in an offbeat way. A little bit longer on the running time might have benefited it, but the main story and characters invest you in it and paper over this flaw. It might not be Bonnie and Clyde or Badlands, but Guncrazy does a commendable job at delving into the turmoil of the two main characters and their tragic companionship. The largely electronic and rock influenced soundtrack suits the overall mood and angst of the piece.

Drew Barrymore turns in a stellar performance as the girl from the wrong side of the tracks who needs a feeling of belonging and care. The part of Anita is someone who is a misunderstood and mistreated girl, finally discovering at least for a while, a feeling of power and respect in the arms of the only man who has treated her right. Drew Barrymore burrows into Anita’s naivety and sunny, adorable need for love that ultimately is heartbreaking to watch. Anita just wants some acceptance in her bleak and unfortunate life, which Drew Barrymore plays naturally and with skill, ensuring that even when Anita is shooting others and on the run from the law, we feel a sense of sorrow for her. It’s a fascinating portrayal from Drew Barrymore, that really stands out. Equally as good is James LeGros, playing the gun obsessed Howard in a way that is different from what you’d expect. He has a quiet charm, sadness and even polite demeanor, that makes it hard to believe at first that he has ever committed a crime. Yet once a gun is put in his view, his boiling anger comes out with dangerous results and unpredictable outcomes. Both main actors work great together, finding an intense yet reflective understanding of each other, even if they are doomed throughout the whole thing. Billy Drago has always boasted for me a slightly off-kilter and strange vibe, which makes him perfect as the snake-handling preacher who is slightly crazy. His flair for the unusual is ideally utilised in this chief supporting role. Then there is Michael Ironside, who is gruff and disapproving as they come when acting as the skeptical parole officer. Joe Dallesandro is all sweaty and slobbering brutality after Anita, eventually getting what he deserves for his sadistic actions and abhorrent behaviour. Ione Skye is the only real weak link in the cast, partly because she is given hardly anything to do within the whole story.

A largely excellent film that strikingly gets across the alienation and desperation of two youths and their penchant for weaponry, Guncrazy is a memorable crime drama, highlighted by the work of Drew Barrymore in the lead. If you ever had any doubt about her versatility, check this out to see her sterling performance, surrounding by an array of interesting supporting players.

Poison Ivy

Tags

1990's, Cheryl Ladd, Drama, Drew Barrymore, Erotic Thriller, Katt Shea, Poison Ivy, Sara Gilbert, Tom Skerritt

Film Title

Poison Ivy

Director

Katt Shea

Starring

• Drew Barrymore as Ivy
• Sara Gilbert as Sylvie Cooper
• Tom Skerritt as Darryl Cooper
• Cheryl Ladd as Georgie Cooper

A steamy and sinister erotic-thriller/drama, Poison Ivy is not the best of its kind, but is raised up a few notches by the presence of a seductive Drew Barrymore and a better than expected story. It can’t quite escape the B-movie trappings, but has enough things to bring it to a level of credit, no matter how flawed.

Sylvie Cooper is a wise cracking loner, who has a fractured relationship with both her parents and finds any way to push the boundaries with them. She most wants someone to spend time with who understands her personality. Her wish is seemingly granted when she meets Ivy; an entrancing blonde with a wild way about her. The alluring Ivy is at the school on a scholarship and hasn’t come from the happiest background. Both somewhat loners, Sylvie and Ivy bond and form a friendship. Sylvie invites Ivy to stay over in her large house, which becomes something of a permanent thing. Ivy loves spending time at Sylvie’s house and the security she believes it has. Ironically, Sylvie enjoys Ivy’s company because she is different and wild. Sylvie’s mother Georgie is dying of emphysema, while her dad Darryl is a worn out television presenter whose seen better days. Both parents take a liking to the vivacious Ivy; Georgie sees something of herself in the young, rebellious girl, while Darryl begins to develop salacious feelings for her, brought on by Ivy’s come hither wiles. Yet just being with family is not enough for Ivy, she wants to actually be a part of it. And through manipulative ways such as impressively seducing Darryl and charming Georgie, she sets her sights on her goal and raises her dark campaign insidiously. Sylvie grows suspicious of Ivy and her motives, but as she’s probably the only friend she has, clings to the only person she’s ever really related to in life. Soon Ivy’s plan gathers momentum and threatens to destroy Sylvie and her mother, in the hopes of gaining the family she never had and being in control.

Katt Shea has a stylish approach to the often lurid source material, yet finds other areas of character attention that are unexpected. There is a definitely a thriller element to Poison Ivy, similar to other films of the time that involved a home being engulfed by the pernicious influence of an outsider. While that is there, a drama is mainly prevalent in quite a lot of the movie, raising it up a few bars on the level of appreciation. A gorgeous lighting scheme contributes greatly to the mood at hand, one of darkness and sexuality in hues of moody blue and slithering gold. If there is anything you can’t deny about Poison Ivy( even though it is far from amazing) it’s that it turns up the heat without quite becoming x-rated. I mean just take the scene where Ivy seduces Darryl on the hood of his car as rain pours down. It’s sexy stuff that feels steamy yet not overly tawdry. As risible and melodramatic as some of the script gets, it is compensated for by the aura and attention its two protagonists. Both Sylvie and Ivy have their own issues and feelings of alienation to different degrees, which makes both relatable, even when Ivy’s darkness reveals itself. They are both mixed up so it isn’t really a surprise that they find some common ground, until obsession and a desire to usurp corrupts everything. I could have done with Poison Ivy being a bit longer than it’s relatively short running time. It did feel more than a tad rushed at various instances, with events lunging out rather than unfolding. Expansion may have been necessary to the film, yet for what it is, it does it with some style. A generously sinister music score of strings and saxophone is sultry and mysterious, much like the eponymous bad girl who takes centre stage.

The biggest asset to Poison Ivy is Drew Barrymore in the title role. At the time of the film, Barrymore was returning to acting after a much publicized battle with drugs and alcohol . Still aged only 17 and now clean, she managed to rebound thanks to this film and others that followed, paving the way for the bankable star we have today. Drew Barrymore really plays the seductive but not entirely unsympathetic Ivy excellently well; displaying an agreeable charm, hidden menace and touches of yearning. You genuinely buy the seemingly good girl/disturbed vixen act that Ivy has as it is so convincing, yet as played by Barrymore, the Lolita sex appeal comes out and a feeling of being mixed up and abandoned is ever-present. Ivy may be sinister and extremely manipulative in her actions, but she isn’t quite a one-dimensional monster. This is down to Barrymore, whose contradictions of allure, amiability and childlike craving are ideal for this part. Sara Gilbert is also solid in conveying awkwardness, snarky cynicism and a pang of alienation. Her playing of Sylvie as wanting to belong is another part of the film that keeps it from being just another trashy erotic film, mainly because it feels very natural and unaffected. Tom Skerritt and Cheryl Ladd are cast in the supporting parts of Sylvie’s unsuspecting parents, whose lives are wrecked by the consequences of Ivy’s actions . While neither role requires much of a dramatic stretch, both stars bring their game to the roles of philandering husband and dying, embittered mother.

A flawed movie but one with sufficient good areas( notably Barrymore and Gilbert), Poison Ivy is a cut above some erotic movies

Party of Five Season 3

Tags

1990's, Alexondra Lee, Jennifer Love Hewitt, Jeremy London, Lacey Chabert, Matthew Fox, Neve Campbell, Party of Five, Party of Five Season 3, Paula Devicq, Scott Wolf

We return to the dramas of the Salinger family in Party of Five Season 3 . With more strife and issues at play than ever before, Season 3 is probably the best season so far, due to the astonishing maturity and how it isn’t afraid to grapple with weighty and dark subject matter. Be aware, spoilers may follow in this review.

Bailey(Scott Wolf) has graduated high school and is heading to college nearby. The thing is he’s feeling lousy and worthless as his best friend Will is leaving for a better college. Also present are the latent feelings of being inadequate over opportunities he’s had to sacrifice, like using his money to pay for tuition to save the restaurant at the end of Season 2 and having to settle for a college closer to home. He moves into a dorm and meets free-spirited Callie(Alexondra Lee), who he impulsively sleeps with and deals with his own shortcomings. After dutiful girlfriend Sarah(Jennifer Love Hewitt) learns of this and saddened by is increasingly erratic behaviour, she breaks up with him. All of this spills into a dependence on alcohol that amounts to dangerous levels. Charlie(Matthew Fox) and Kirsten(Paula Devicq) are finally making another go of things and it looks pretty rosy for once. That is halted when it is revealed that Kirsten has manic depression which started after the botched wedding several months back. It comes to the surface when her dissertation reveals that she copied work from somewhere else, resulting in her losing her prized job and PhD that she worked hard for. She starts to slip worryingly into the wraps of depression and out of control as an unprepared Charlie flounders. Eventually, Kirsten’s parents arrive and after a tug of war with Charlie, she is taken away psychiatric help. This leaves Charlie deeply saddened and lost, though he finds some companionship in a social worker called Grace. Still it’s Kirsten that Charlie wants most of all. Julia’s(Neve Campbell) love life and future are in doubt, with Griffin(Jeremy London) bailing again(before returning late in the game with a more positive and driven attitude). With high school soon to be over, Julia reconsiders going to college and living up to the label of always by the bookish one in favour of something different. The only thing is she doesn’t know what to do, after being so well so for so long academically. Claudia(Lacey Chabert) begins to feel left out of things and as the family is at loggerheads, she tries to bring them back together( for the sake of youngest brother Owen who as a toddler needs looking after) even though it shouldn’t be her responsibility. All of these events combine and threaten to tear the once close family completely apart.

As I’ve covered in the past when discussing Party of Five, it is a show that works on the emotions well. Yet it doesn’t feel contrived or overly manipulative because of the clarity of writing and content. Season 3 is no exception, albeit that is traverses darker territory than before. The Kirsten depression story line is honest and heart wrenching to watch as she slips into darkness and is eventually taken away for help, which devastates Charlie. It’s sad because Charlie wants to deal with it himself but is clearly out of his depth, despite the fact that he wants to help. If you don’t shed tears when Kirsten is taken away for treatment, you clearly need to examine yourself.

And big praise should be extended to the dealing with of Bailey’s drinking arc; which gradually begins to unravel, as opposed to all at once. The fact that time is taken to establish the slope that Bailey goes down through one drink here and a knock that influences a binge there, is exemplary and believable in how it tackles the insidious effects of alcoholism. A massive wallop and clout comes through in Season 3, with Bailey’s story the most dramatically and challenging one. Take for example ‘The Intervention’, which for my money is the standout episode of not just this season, but so far the show. the family, along with Sarah and Grace, confront Bailey and attempt to make him realise his destructiveness and drink problem. A real gut punch is present as everything comes spilling out with the strained family trying to save one of their own, but who may be beyond the point of rescuing. Things don’t go as you think they might in this heartbreaking episode that feels like a stage play, through the enclosed setting that scarcely leaves the house and the sheer intensity of the piece. Trust me, this episode will emotionally exhaust you with how deeply it pierces and how it doesn’t take the easy way out. And what follows as Bailey endangers Sarah makes for equally soulful and shattering viewing.

All in all, Season 3 darkest and most mature season so far. It starts slightly slow and some of the sub plots don’t quite add much at first, but gets into the groove of things quickly and with a sensitivity that’s been its chief asset. it still retains some of the earnest humour it has always had, but Season 3 is by far the most emotionally and bleak series so far and all the better for that. By the far the biggest theme that permeates from Season 3 is change. Whether it be Bailey’s spiral to Charlie’s growing backbone and Claudia’s reluctant maturity, transformation and challenging growth are the name of the game. Heck, even slacker Griffin returns and adopts a more positive and hopeful attitude than his usual

Scott Wolf delivers his most impressive performance so far as Bailey, who goes from the fun yet mainly responsible sibling to pathetic and angry drunk in devastating fashion. He honestly conveys the descent and feeling of being worthless that Bailey feels, as he’s always been the one to help but never really thought of himself. The boiling frustration reaches a maximum when his drinking spins out of control and Wolf’s tragic and heartbreaking performance only adds to the dramatic intensity. Matthew Fox turns in a sympathetic portrayal if Charlie, who is finally getting to be responsible after so long being anything but. Fox finds a genuine care in Charlie, that despite his stubbornness and less than ideal sense of support in the past, is still very apparent as he fights to keep the family in one piece. Neve Campbell hits the effective beats of capricious and mixed up emotions excellently, showing Julia as wanting to change and feel some form of release. After being the studious sibling for a long, she wants to let her hair down and live in the moment. Lacey Chabert as Claudia grows up quicker and assume some control, albeit of the reluctant kind that any young kid shouldn’t have to deal with. It’s something that weighs heavy on Claudia and Lacey Chabert is heartbreaking and strikingly precocious in how she presents the unwanted responsibility that Claudia must take on to preserve her family. And damn if she isn’t emotionally convincing when the drama hits. Appearing largely in the first half of the season and making a big emotional impact is Paula Devicq playing the depressed Kirsten. Trust me when I say she inhabits that crippling impact of the condition with moving clarity and pain, that it doesn’t even feel like she’s acting sometimes. Genuine decency and a capacity for forgiveness can be difficult to portray without becoming parody, but Jennifer Love Hewitt beautifully finds a convincing way to do it as supportive Sarah. Even though Bailey hurts her, she still wants to help him as she knows there is good underneath his drunken state. Alexondra Lee successfully appears as the free-living Callie, who isn’t as uninhibited as she makes out and grows weary of Bailey’s drinking. Jeremy London finally gets to be a bit more than scowling and handsome, finding a desire within Griffin to finally make something of life and not just be a lay about.

A dark and dramatic third season, Party of Five is at the top of its game with powerful acting and genuine heft. This allows it to be the best season so far.

Matilda

Tags

1990's, Danny DeVito, Embeth Davidtz, Fantasy, Mara Wilson, Matilda, Pam Ferris, Rhea Perlman, Roald Dahl

Film Title

Matilda

Director

Danny DeVito

Starring

• Mara Wilson as Matilda Wormwood
• Danny DeVito as Harry Wormwood
• Rhea Perlman as Zinnia Wormwood
• Embeth Davidtz as Miss Honey
• Pam Ferris as Miss Trunchbull

A glorious fantasy of a young girl discovering her talent for turning the tables on the unfair grown-ups in life, Matilda gets the right amount of dark humour and inspiring fun of kids taking control that Roald Dahl had in his book. This review will most likely be biased as I adored this movie growing up, but that’s why it’s perfect to review.

Matilda Wormwood somewhat stands out from her unappreciative and neglectful parents. Being a very bright girl with knowledge far beyond her tender six years, she craves learning and understanding. Unfortunately, she is cursed by a family of barbarians who don’t care about her; crooked father Harry, shallow mother Zinnia and utterly bratty brother Michael. They are addicted to television and their own selfishness to not notice the precocious daughter they have, leaving her to find company in books and knowledge from around the age of two. Out of anything, Matilda definitely wants to go to school. Yet upon finally attending school, she realises the unfairness of those older doesn’t just end at home. The principal Miss Trunchbull, is a monstrous bully who brutally keeps children in check with force, abuse and terror. Thankfully for bright Matilda, she meets the inspiring and lovely teacher Miss Honey, who understands her and treats her fairly unlike every other adult Matilda has encountered thus far. With Miss Honey in her corner and becoming something of a surrogate mother, Matilda blossoms. Yet Miss Trunchbull is having none of her spirited nature and takes it upon herself to especially humiliate Matilda. But lately, the wise and precocious girl has discovered that she possesses certain supernatural abilities that come into practice when she’s belittled or challenged by nasty adults. Soon, she finds a way to harness these powers to turn the tables on Trunchbull and her parents once and for all.

Danny DeVito utilities a sprightly and darkly mesmerising touch to the film, having a wide range of unusual angles place us in the position of children. Everything is rendered intimidating and strange by DeVito, which ties in with the story as it reaches magic levels of Matilda finally standing up for herself. this fun for kids to see a young person growing and getting her own back on those that have mistreated her and equally as entertaining for grown-ups to observe the gleefully dark and not sugar-coated content, which is faithful to the spirited imagination of Roald Dahl. While it deals with the feeling from children that adults don’t understand or respect them, Matilda fantastically exaggerates this(in keeping with the twisted fable from Dahl) which is satisfying and fits into a story of self-worth and having the power to manage some control and decision. I mean who wouldn’t want to get revenge on a bullying headmistress whose hobbies include throwing children over the garden fence for wearing pigtails, forcing them to gorge on an impossible cake or locking them in a nail filled cupboard known as The Chokey?. It’s the very oddball essence of Matilda that makes it such a good film; it often goes in different directions than you’d think for a film aimed at children and is very mature in passages. Matilda has humour, some frightening moments(make that all that involve the harridan of Trunchbull) and heart, best envisaged by the sparky and gifted protagonist whose powers lead to amusing and revenge filled mischief of the best kind. As I previously referenced, I had a big love if this movie as a kid. Visiting it as someone older, it still retained the kooky charm which I fondly remembered. A spirited score is just the ticket for the madcap content of Matilda, with unpredictable rhythms and puckish movements.

Mara Wilson is sublime as the special title character, whose vast intellect and power cause her to emerge as a likable lead and mature presence. Despite her tentative years, Wilson beautifully gets across Matilda’s love of learning, the wanting for someone understand her and her helpful and plucky personality that comes into play in nice fashion. I really can’t think of another person except Mara Wilson playing the role of Matilda so well and with such spirit. Danny DeVito also stars as Matilda’s low life father, with oily charm and rat like sneakiness. Complimenting him is his real life wife Rhea Perlman who is fabulously trashy as the bingo obsessed mother. Embeth Davidtz successfully makes Miss Honey a beacon of hope, yet never slips into overly saintly, due to a feeling of buried strength and having experienced the hardships of life. Yet the best performance in Matilda is the one given by Pam Ferris as the nasty Trunchbull. Ferris sinks her teeth into the part and brings it to furious and villainous life; making for a terrifying antagonist that everyone would fear if they were in her presence. There is a gleeful horror to Miss Trunchbull that Ferris plays to perfectly, ensuring that you really hate this woman and hope she gets some form of poetic justice at the hands of Matilda and her growing magical powers.

A fun and enjoyable not afraid to be dark and unusual, Matilda is a magical movie about how we can all be special and find a power within ourselves in life.

Waiting to Exhale

Tags

1990's, Angela Bassett, Comedy, Dennis Haysbert, Drama, Forest Whitaker, Gregory Hines, Lela Rochon, Loretta Devine, Michael Beach, Waiting to Exhale, Wesley Snipes, Whitney Houston

Film Title

Waiting to Exhale

Director

Forest Whitaker

Starring

• Whitney Houston as Savannah Jackson
• Angela Bassett as Bernadine Harris
• Lela Rochon as Robin Stokes
• Loretta Devine as Gloria Matthews
• Gregory Hines as Marvin
• Dennis Haysbert as Kenneth
• Michael Beach as John Harris
• Wesley Snipes as James

A glossy comedy drama concerning the love lives and friendships of four African-American women, Waiting to Exhale definitely has a lot of things going for it on the entertainment factor. But while it has some things to recommend, primarily a hot soundtrack and largely impressive casting, Waiting to Exhale just felt overall too slight of a film to make an impact on me.

A quartet of African-American women( Savannah, Bernadine, Robin and Gloria) all experience differences in romantic relationships and love . All living in Phoenix, their relationships with men are never easy and they often meet to discuss their various problems with the opposite sex over vino and food. Savannah is a television producer who has been having a relationship with Kenneth, a married man who keeps promising to leave his wife. Yet she is growing restless with his lying and contemplates taking charge once and for all. Bernadine thought she had a great marriage and lifestyle. That is until slimy John leaves her after eleven years for his secretary and she is crestfallen. She must deal with how best to move forward and reclaim her life as a single woman. The trouble is she never expected any of this to happen, so must go back to square one again and see what she can do. Robin is a flighty girl still hung up on a no good guy, but having casual flings with other guys while she waits for him to finally be in a proper relationship with her. And Gloria, who discovers that her ex-husband is gay, desperately craves company as her son is soon leaving home. Luckily, a new neighbour, handyman Marvin , moves in and she takes a shine to him. Throughout it all, the four women have their friendship to fall back on and rely on in confusing times concerning the heart.

Forest Whitaker adds touches of class as director and knows how to create nice imagery. I do believe he’s trying his best to bring these stories to life and he makes them at least watchable. The script and other areas are where Waiting to Exhale loses me. It just comes off as rather a few, slight vignettes than as a cohesive story, which is something of a detriment to Waiting to Exhale. I mean, I don’t mind me some episodic stories but usually its when they flow that I go for them, which sadly wasn’t the main case here. I did like the interactions between the women(which have humour to a lot of them and a nice dynamic), but I wish there were more of them to flesh things out a bit more. It was mainly Bernadine’s story that moved me the most; her story felt the most compelling as she grew stronger and shared a tentative attraction with a man going through crisis( a brief but memorable turn from Wesley Snipes). The other stories didn’t quite have the pulling power of Bernadine’s, even though Gloria’s pining for her neighbour was nicely observed. I can see that Waiting to Exhale provides escapism for many, I just can’t quite place my finger on why it felt somewhat flat for me. It started pretty well, but for me, it grew rather tedious and drawn out if we’re talking about the overall picture. I think it is a movie that does have some satisfaction and fun, but one that doesn’t really burn into the memory that well because of a lack of depth. The soundtrack however, with soul grooves, courtesy of Babyface, is really smooth and easy to listen to. It was a redeeming feature in a flawed movie.

A saving grace of this film is the main cast, especially Angela Bassett and Loretta Devine. Whitney Houston, looking gorgeous and stylish, gives Savannah a wry humour and quiet depth that is very beneficial and lovely. Angela Bassett is the main standout as the wounded but clearly not beaten Bernadine. As broken down as Bernadine is, the innate toughness Bassett brings to the screen always came off loud and clear that would be a fighter. I mean watching her torch her lying spouse’s fancy clothes and car was pretty satisfying viewing. Her blend of anger and vulnerability sold a lot of the emotion the film was going for and did it successfully. On the other end of the spectrum is Lela Rochon, who does a good enough job, but feels more than a bit stretched as the mixed up Robin. Don’t get me wrong, she’s quite appealing in parts, yet lacks the depth that the role later calls for and comes off as too weak in terms of acting chops. Loretta Devine really has a ball as the caring but hilarious Gloria, who represents a certain voice of calm amid all the entanglements. I loved her vivacious energy and timing, it was pretty spot on. Gregory Hines is a nice presence as the only really good guy(along with Wesley Snipes) in the picture. The rest, mainly Dennis Haysbert and Michael Beach, excel at playing the weasels who do nothing but promise sweet nothing to the ladies.

Undoubtedly entertaining as Waiting to Exhale is, I just found my interest levels lagging a lot. I will say that it all was shot nicely, had a soulful soundtrack and nice work from the cast(mainly Angela Bassett and Loretta Devine), but there was something missing that stopped it from being special.

What’s Love Got To Do With It

Tags

1990's, Angela Bassett, Biopic, Brian Gibson, Laurence Fishburne, Tina Turner, What's Love Got To Do With It

Film Title

What’s Love Got To Do With It

Director

Brian Gibson

Starring

• Angela Bassett as Tina Turner
• Laurence Fishburne as Ike Turner

A biopic of Tina Turner, her rise to stardom, abusive marriage to husband Ike and eventual freedom is dramatised with verve here in What’s Love Got To Do With It. Now is quite generic and follows the rules of a biopic to the letter, but that shouldn’t distant from the incredible acting, killer soundtrack and revealing glimpse into a woman’s gradual emergence as a liberated and unafraid star.

We begin in Nutbush, Tennessee where Anna Mae Bullock( Turner’s birth name) is a young girl with a big voice. She is abandoned by her parents at an early age and is raised by her grandmother. Flash forward a few years, and she’s a shy and coltish young lady coming to St. Louis to see her long estranged mother. It is here with her sister that Anna Mae first meets charismatic bandleader Ike Turner in a bar. One night when he’s performing, the microphone is passed around the female patrons. It ends up with her and when she belts out a song, everyone is totally surprised. Ike sees something in Anna Mae and begins mentoring her, later giving her the name Tina Turner and structuring his band around her. Soon success is pouring in for Ike and Tina( who marry quickly) in ways she never thought possible. Yet events quickly sour and get darker as Ike becomes more insecure and addled with drugs. This leads to him putting pressure on Tina to perform no matter whether she’s too exhausted to do it. And when she begins to gain most of the attention, Ike’s abusive streak reaches physical heights and brutal beatings, which terrify and cage Tina. Scared to leave despite his torment of her and humiliation at his hands, Tina sticks with Ike, but slowly crumbles under his abuse. That is until Tina finally gains the stiffening of her backbone needed to leave Ike and take control of her life.

What’s Love Got To Do With It is pretty conventional in its main execution like a lot of biopics, but director Brian Gibson still makes it a film to remember with how dark he depicts events behind the curtain. The biggest flaw for me is how quickly everything moves, with certain events and is hit and miss with its timing. Granted, the news footage with a hand-held sort of grain that presents the passing of events in a largely effective manner, even if the screenplay some homes leap frogs some things and leaves you to fill in the gaps. Credit should be given to his grimly realistic the brutality and emotional torture of Tina under Ike is depicted. This unvarnished and at times shocking depiction of events lends a wallop that some biopics miss by trying to be overly glossy. At the centre of the movie is the self-discovery and worth of Tina, who slowly finds a fortitude within herself that enables her to become a survivor. And the other saving grace in the film is the bravura music numbers. From a relentless and exhausting cross cutting performance of ‘Proud Mary’ to the solo triumph of Tina with the title song, the music and its sound are fully alive and vividly staged.

If there is anything that really raises the roof of What’s Love Got To Do With It, it is the two exceptional performances of Angela Bassett and Laurence Fishburne. Angela Bassett strikingly and uncannily captures the feisty, sultry and energetic persona of Turner on stage, while revealing the well of sadness and torment behind closed doors at the hands of possessive Ike. Seriously, Bassett gets so much into the part, that you genuinely feel like you’re watching the real woman in action. That’s one of the highest compliments you can give a star, but it’s warranted with how Bassett turns in a performance of vulnerability, appeal and a burgeoning steel to stand up for herself. Equally as compelling is Laurence Fishburne and his interpretation of Ike. A seductive and very suave guy in the beginning who recognizes the talent in Tina, his mercurial and resentful personality soon comes out with frightening and brute force. Fishburne explosively charts this path and  frighteningly throws himself into the part with superb results. It’s safe to say that the film wouldn’t have been the same or as watchable where it not for Bassett and Fishburne.

Conventional and oversimplified as some of it may be, What’s Love Got To Do With It gets its power from two sensational lead performances of Angela Bassett and Laurence Fishburne. Add to that one hell of a soundtrack, as well as its depiction of the strength that Tina had to gain in order to forge her own success away from the darkness and the film is eminently watchable.