Flatliners

Tags

1990's, Flatliners, Joel Schumacher, Julia Roberts, Kevin Bacon, Kiefer Sutherland, Oliver Platt, Supernatural Thriller, William Baldwin

The prospect of what happens after death and how five medical students dangerously attempt to discover this form the basis of the stylish and often intense Flatliners. While it sometimes doesn’t reach the existential themes it’s going for, Flatliners still emerges as a spooky supernatural thriller with a fine cast and direction. 

In an eerie looking building which resembles an old cathedral, part of which is being renovated, a group of medical students are studying to become doctors . But soon it’ll be more intense and dark than they ever imagined when one of them gets a rather alarming idea for a dangerous . That person in question is the arrogant dreamer Nelson Wright(Kiefer Sutherland). Joining him, we have talented yet sometimes erratic David Labraccio(Kevin Bacon), sleazy Lothario Joe Hurley(William Baldwin),  diligent, composed Rachel Manus(Julia Roberts) and wise ass Randy Steckle( Oliver Platt) . In the evening, they sneak medical supplies into a disused wing of the building for their planned experiment. Nelson plans to be put into a state of death for a few minutes then be shocked back to life before actually dying for real. He hopes that he can experience the afterlife and live to tell the tale about what he unearths. Nelson’s experiments seems to go well as he admits that he believes. What he doesn’t tell the others is that he is also plagued by an incident from childhood that won’t let him rest. As the rest of group begin undergoing the experiment , they are haunted by their past traumas, misdeeds and sins. Power struggles and paranoia ensue as they try to outdo each other, Nelson becomes increasingly unhinged and David begins developing deep feeling for Rachel. As events darken, they fall victim to the repercussions of their actions and Playing God. What began as a foolish experiment of curiosity into the other side soon turns into a waking nightmare for all involved as they wrestle with the horror of the situation.

Joel Schumacher is at the helm of Flatliners and his gift for stylish content is very much in evidence. Though it should also be noted he also manages to tap into some quite disturbing places and emotional ones too, rising above some of the scripts repetition to craft a spooky supernatural thriller. Despite longueurs in the script , Peter Filardi’s  work on the screenplay here still does a commendable job with it at least getting us to consider mortality and the consequences of our actions in the past. One thing truly worth of praise in Flatliners is the rather striking production design which suggests a haunted house tinged with religious iconography and MTV style gloss. It’s a fertile space where the main characters begin their reckless, clandestine experiments and the set design is rendered with supreme style that backs up the eeriness the film is going for.  And Flatliners does have plenty of style running through its veins right from the get go; courtesy of Schumacher’s always impressive visual directing and the moody cinematography (largely cold blues and deep reds) .  Swirling camerawork in the visions of afterlife contribute to the heady atmosphere of the piece as does a very good mastery of editing and sound. Standout scenes include the slimy being confronted in hallucinatory by his treatment and surreptitious recording of ladies in intimate situations and the students scrambling to save Rachel after the power goes out, leaving the experiment in danger of resulting in permanent death. James Newton Howard is on score duties and he mixes synth heavy atmospherics with choral flourishes that make it a ghoulish and haunting listen.

The cast of then young stars either on the rise or just established is on good form playing these curious and flawed characters . provides intense and later dangerous instability as the ringleader of the warped experiment in life and death. Sutherland always has an edge to him that I find riveting to watch and he doesn’t disappoint as the arrogant instigator of the haunting events. Julia Roberts is also very effective as the lone woman in the group who has her own personal agenda for taking part. Showing a graceful, demure vulnerability and a sense of haunted grit crossed with sadness, Roberts contributes highly to the proceedings with an earnest and convincing performance. Kevin Bacon, who I find to be incredibly reliable in most things, doesn’t disappoint here. He’s the often rebellious atheist who feels he has nothing to lose but ends up becoming the most concerned and caring of the group as he sees things are getting out of control. Bacon balances a youthful recklessness and an eventual maturity admirably and is very good in the part . William Baldwin is appropriately sleazy and randy as the love rat whose treatment of women really comes back to bite him; making him really go over and regret just how awful his behaviour has been to the opposite sex. Oliver Platt is mainly used as the comic relief of the group; constantly telling everyone this is a very bad idea and delivering witty retorts to his comrades. He’s probably given the least to do here but has his moments.

So while it’s not a masterwork in supernatural thriller or of existential leaning, Flatliners is still an entertainingly creepy, well acted  and stylish excursion into unusual what if possibilities regarding death and what may dangerously follow

The Lost World: Jurassic Park

Tags

1990's, Adventure, Arliss Howard, Jeff Goldblum, Julianne Moore, Pete Postlethwaite, Peter Stormare, Richard Attenborough, Richard Schiff, Steven Spielberg, The Lost World: Jurassic Park, Vanessa Lee Chester, Vince Vaughn

As the sequel to the gargantuan blockbuster and game changer Jurassic Park, The Lost World: Jurassic Park has big footsteps to follow. And while it’s impossible to compare to the classic that was the first movie as the magic has worn off quite a bit, The Lost World still has moments of awe and thrills to keep you entertained in this adventure.

Following the events of the first film, survivor and chaos theorist Dr Ian Malcolm( Jeff Goldblum) has been written off as a lunatic after he spoke about the devastation and horror of the botched attempt at opening the park. Interestingly, the sarcastic Ian is summoned by the billionaire John Hammond(Richard Attenborough) , the man behind the original park. It transpires that there was a second island where the dinosaurs where bred by the InGen company, that was abandoned following a hurricane. The species of prehistoric creatures where set into the wild and have been living there ever since, despite originally being programmed to not live long due to a build in deficiency. There are no cages or fences on this island so the genetically modified dinosaurs roam free. Hammond is in a pickle as the company he owns is under scrutiny and his leadership is being undermined by his own nephew Peter Ludlow(Arliss Howard), a most weaselly and greedy upstart who has a flagrant disregard for the feelings of others  . After a young girl was savaged by some dinosaurs on the island after her family docked there , an investigation was launched into the area . Hammond wants Ian to travel to the island and with a crew document the creatures in order to rally some public support and stop the evil takeover planned by .  For wishes to make money off the dinosaurs on the island. After discovering that his girlfriend, the impulsive palaeontologist Dr Sarah Harding( Julianne Moore) is on the island, he decides to go even though he isn’t thrilled with the idea. Joining him are the photographer and part time environmentalist Nick Van Owen(Vince Vaughn) and equipment specialist and engineer Eddie Carr(Richard Schiff) . Once they meet up with the promising Sarah, they discover that Ian’s estranged daughter Kelly( Vanessa Lee Chester) hid away in the travel so she could tag along. This doesn’t bode well for Ian who is often at loggerheads with Kelly as they argue over how much he is away from any parental responsibility. Such disagreements are put on hold however once Ian realises that they aren’t the only humans on the island. Around this time another team soon follow with the hunter Roland Tembo(Pete Postlethwaite) at the helm and with a desire to capture a Tyrannosaurus. He is alongside the slimy Ludlow, whose plan is then revealed as one that involves taking the remaining dinosaurs and creating something of a zoo in San Diego.  Attempts by Malcolm and his group to help the dinosaurs are thwarted and with the other group with mercenary intent in mind, it inadvertently causes chaos as the prehistoric beasts begin a vicious attack against the humans. Now it’s another fight for survival against the creatures, from T-Rex to velociraptors. Everyone on the island is at risk as the rival groups have to band together in an escalating battle to make it out alive.

The shadow of Jurassic Park is still over this movie( I mean how could it not be?) and the movie somewhat stumbles as it reaches for impossible heights. But as I’ve grown older, I’ve discovered that The Lost World is rather underrated and I’ve began to reassess it. Admittedly it’s still flawed and doesn’t quite have that snap of its influential largely down to a long winded plot and how it moves a bit slower than it should, but it doesn’t mean that the film isn’t at least thrilling and watchable in large stretches once the action kicks into high gear. The Lost World has always been the entry of the series that I’ve been in two different mindsets on and I still am in both. It just seems that now I view it with a more positive outlook than before while still seeing that it’s definitely not as magical as it could be. Steven Spielberg is once again on directing duties and shows his immense skill in many a set piece.  The Lost World feels quite a bit darker and there is more than a bit of grisly savagery that’s surprising yet jaw dropping( watch out for a ripped apart death scene, onslaught on a hunter who soon regrets his treatment of the Compys.) And not forgetting the intelligent and stealthy raptors sneaking up on people in the long grass in a sensational sequence and a waterfall stained with blood after the giant T-Rex has snacked on a terrified victim. This is backed up by some moody cinematography set mainly at night and impressive camerawork that puts us at the heart of adventure.

Spielberg displays a fantastic knack for entertaining an audience and making sure that no nail is left not bitten. Case in point is the scene in which the two big T-Rex come looking for their infant. Although Sarah helped nurse it following its brutal treatment, the dinosaurs don’t take to anyone messing with their offspring. Attacking the trailer that houses, it leaves the terrified trio on a precipice quite literally as the trailer is forced halfway off a cliff. Sarah falls inside the trailer and her plunge is stopped by a sheet of glass. The only thing is that once she comes around the glass begins to splinter slowly underneath her. It’s heart-stopping stuff as she attempts to remain still and not allow the glass to break any quicker, which would result in her death. You’re seriously holding your breath as the scene plays out and it’s the main set piece of that sticks in my memory from The Lost World. Other sequences like the attempted capture of dinosaurs by the evil company that resemble a wild safari are stunningly action packed, but the glass scene is where it’s at for me as I’m a sucker for suspense. When it comes to the effects, the film does deliver the goods. And though some of the novelty and magic has worn off , it’s a thrill to see many return as well as some newer ones. There’s the diminutive but vicious Compys, that stun prey before devouring it, huge Stegosaurus that Sarah photographs and it’s a thrill to see the velociraptors back and as cunning as ever. The effects are still of a high standard and further enhance the adventure aspect of this sequel. John Williams aids events with a thundering score, with a heavy percussive feel that fits the jungle setting and the rising tension with rattling drums. The music bristles with excitement and menace, both things that Williams truly excels at providing us with.

While the characters aren’t quite as compelling as before and are sometimes rendered as not the sharpest in terms of brains, the handsomely assembled cast still does very good acting with what they have to work with. Jeff Goldblum, who is always a fun actor to watch, plays the sarcasm and cynicism extremely well. Goldblum balances both humour and a feeling of seen it all weariness that suits the film down to the ground. Julianne Moore, who many readers will know is one of my favourite actresses, has some great moments as the main female in the film . Her character isn’t exactly written with much in the way of depth, but the always talented Moore imbues her with wits, impulsive curiosity, terror and fun that’s nice to watch. Vince Vaughn has a sense of action and humour to him as an activist not afraid of a fight. Pete Postlethwaite is one of the big standouts here, essaying the role of game hunter who is seemingly singled minded but has his own set of scruples that make him more complex. The part could have just been one dimensional but the gifted Postlethwaite infuses it with a certain level of depth, gravitas and experience. Arliss Howard is a slithering presence as the nasty Peter Ludlow; a smug, self satisfied man with no compassion or sense of decency in his body. Howard plays this villain for all its worth, backed up by the scene-stealing Peter Stormare as a vicious hunter who is bad to the bone. Vanessa Lee Chester is saddled with the typical role of kid in danger and isn’t required for much else. She even gets the films most eye-rolling moment that just feels so out of place. Richard Schiff is nicely understated as a courageous member of the team who puts his life on the line. Richard Attenborough, though appearing briefly, is still effective at showing how John Hammond has changed from eccentric billionaire with grand ideas to a man making amends for what he’s done. As previously mentioned, the characters can come off as holier than thou but most of the acting rises above that.

So it’s not rivalling it’s predecessor on the epic front and it isn’t a masterpiece, but The Lost World: Jurassic Park has grown on me a bit. I can accept it’s flaws in the development department, as there are quite a lot of moments that do stand out in this sequel that treads familiar ground. Though it does this it still knows how to push many of the right exciting buttons for the audience and keep you entertained.

Lake Placid

Tags

1990's, Betty White, Bill Pullman, Brendan Gleeson, Bridget Fonda, Comedy, Horror, Lake Placid, Oliver Platt, Steve Miner

A horror-comedy hybrid about a giant crocodile terrorising a quiet Maine waterway, Lake Placid is something of a mixed bag. For all the flashes of humour and parts that have great tension, the rest of the enterprise fails to impress with the script straddling actors with roles that aren’t that interesting. Still, it’s a fun if slightly forgettable movie but it has some entertainment value amid its often confused identity .

A brutal attack that renders a scuba diver cut in half on Black Lake, Maine, raises immense concern for the safety of others. Gruff Sheriff Hank Keough( Brendan Gleeson) ,who was there with the river but didn’t see what killed him is understandably worried about the future at this point. He is soon joined by a diverse group of people from different fields who arrive to discover just what caused this bloody death. We have the calm and collected Fish and Game Warden Jack Wells( Bill Pullman) , who is skilled in the art of sarcasm. Following him is uptight and prissy palaeontologist  Kelly Scott( Bridget Fonda)who is assigned following a botched fling with her boss and is there because the fragment of an unidentified but very sharp tooth was discovered in the body, though she is not prepared for outdoor conditions in the slightest . And finally we have the eccentric mythology expert Hector Cyr( Oliver Platt) with oodles of money and not much in the way of tact. At first, some think it might be the result of a bear, though Hector is convinced that it is from a crocodile as he is something of an expert in that field. Everyone begins butting heads over the best course of action for the still unseen predator, but soon everyone must band together when terror strikes. It transpires that the creature in the lake is in fact a 30 ft saltwater crocodile that has a rather ferocious appetite. The rag tag group has to decide what to do before they end up as the beast’s next meal. But will any of them actually survive the carnage to tell the tale?

The directing of Steve Miner is passable enough and at least the running time is quite short which means Lake Placid is at least not a long movie. I must give kudos to some great set pieces that give bite to a muddled film. One really stands out for the suspense it induces. In it, the unusual Hector ,who believes that crocodiles are mythological and that he is immune to danger as he’s never been attacked, finds himself in the lake with the beast right behind him. His mix of awe and fear is palpable as it draws closer to him as if studying his every move and patiently waiting to pounce. If only the rest of the film could have been this thrilling, Lake Placid would have had it mad. Miner does very well in these parts, but can’t save the whole exercise from a feeling of lethargy. The script is the point of contention here. Scripted by David E. Kelley, who is known for rapid fire and very dry dialogue, some parts of his ideas work. They just end up feeling repetitive and juvenile as it goes on which doesn’t help matter. Some of it really has a snap too it with some humorous exchanges, but it ends up not mixing with the horror elements effectively.  At least Lake Placid looks good from a visual standpoint and the crocodile is rendered very well, it helps that we only see snippets of it before it lets loose. Stan Winston and his skilful animatronic work, blended with some pretty nifty CGI, make the predatory crocodile intense and believable, even if the film that houses it is not. The music is decent enough at dialling up notches of tension when it needs to but is nothing groundbreaking.

As the leads, we have Bill Pullman and Bridget Fonda. Both are actors I admire and have seen plenty of great work from. The thing is both are somewhat left with roles that don’t stretch them or really let them come alive. Pullman comes off better with his casual attitude and sarcasm providing a few great moments. Unfortunately Fonda is saddled with an annoying character which even her considerable talents can save. The part is whiny, bitchy and often obnoxious . Make no mistake, Bridget Fonda does what she can with material, she’s just left all at sea with a part that should have been better written. The best acting comes from Brendan Gleeson and Oliver Platt, who form something of a chalk and cheese duo who are always at each other’s throats. Gleeson is all scowling, not too bright but authoritative law enforcement, while Platt is out there ideas and an overzealous dedication to his vision that puts everyone in danger. Together the two are a complete blast, sparking off the other with witty retorts and snarling disdain that gives Lake Placid a much needed shot in the arm when it really needs it. They are by far the most entertaining actors and characters here it must be said. And if we are speaking of scene stealing, there’s a very amusing and outrageous small but memorable role for Betty White. She’s loud, foul mouthed and all knowing, plus clearly having a blast in a part you wouldn’t expect from her. I loved it whenever she appeared on screen and went for the jugular with her attitude.

So taking everything into account, Lake Placid is a daft, sometimes funny and scary film. But it just could have mingled better when melding the genres for my liking. It has its good parts though so at least that is something to take away.

Empire Records

Tags

1990's, Allan Moyle, Anthony LaPaglia, Brendan Sexton III, Comedy, Coming-of-Age, Coyote Shivers, Debi Mazar, Drama, Empire Records, Ethan Embry, James 'Kimo' Wills, Johnny Whitworth, Liv Tyler, Maxwell Caulfield, Renée Zellweger, Robin Tunney, Rory Cochrane

The wonderful Gabriela asked me to take part in a blogathon to pay tribute to Maxwell Caulfield.I thought of the perfect film for it and that film is the coming of age comedy/drama Empire Records. My entry is a day early but I don’t think anyone will mind. 

Set over a day in the lives of the workers at the titular music store, Empire Records is a 90’s movie with plenty of good music and filled with many stars on the brink of making it. Plus, you’ve got offbeat characters and fun antics so it’s a great way to spend an hour and a half. Don’t go in expecting anything revolutionary and you’ll have a good time with this cult classic that’s stature has grown in recent years.

Empire Records is a funky little independent record store in Delaware, that provides a solace for the teenagers who work there under the caring eye of store manager  Joe(Anthony LaPaglia). The store prides itself on being independent and doing its own thing, not complying with corporate pressure to be mainstream, but all that could be in jeopardy. The sarcastic and wisdom dispensing employee Lucas( Rory Cochrane) discovers that there is a plan to sell the store and for it to be changed into a soulless music chain. Determined for this not to happen, Lucas takes the store’s takings and heads to Atlantic City. He plans to increase the money at the casino, yet his luck runs out quickly and the money is gone thanks to his harebrained scheme. The next day, the store opens for the arrival of has been former teen idol Rex Manning(Maxwell Caulfield), whose attempting some form of a comeback. It’s here that the rest of the characters are introduced. We have beautiful over achiever Corey(Liv Tyler) , a good girl who wants to lose her virginity to celebrity crush Rex, sexy and sassy Gina( Renée Zellweger) who goes through men like clothes, artistic A.J( Johnny Whitworth) who is in love with Corey but hasn’t had the courage to tell her, wild eyed stoner Mark(Ethan Embry) and troubled Deb(Robin Tunney), who announces herself by shaving her head within minutes of entering the store. Also appearing later are Deb’s on/off rockstar boyfriend Berko( Coyote Shivers)and Mark’s fellow stoner Eddie(James ‘Kimo’ Wills) .

Once Joe notices that the money is gone, he is furious and waits for Lucas to show his face. After animosity following Lucas resurfacing, Joe attempts to explain a plan that could stop the store becoming mainstream while still nursing anger towards the well meaning but careless Lucas. It seems that the money Lucas lost was going to be used to buy the store outright by Joe. Meanwhile ups and downs within the store flesh out the eventful day before them. A whole host of things take place in the twenty fours like a belligerent thief going by the pseudonym Warren Beatty( Brendan Sexton III) causing havoc, Corey and Gina falling out over their respective reputations, Deb’s feelings of alienation and indifference and the appearance of the washed up Rex who has seen better days and isn’t blessed with the kindest of egos . Above it all, feelings are aired and the misfits begin to band together to stop the takeover in an attempt to sock it to the man. 

Allan Moyle is on director’s duties and he seems to have a good grasp of teen angst and how music is always there for us. Complete with messages of fighting the system and being yourself even when you’ve got problems, Moyle injects Empire Records with a certain nostalgia value and the script sizzles with great one liners and plenty of hip dialogue. Moyle keeps the pace flowing as more crazy events mount up within the store, many of them overlapping and entertaining. Empire Records is far from flawless( parts feel rushed and sometimes there is one music montage too many). It isn’t exactly going for being the most original movie out there, but I think therein lies the appeal of Empire Records. Sure it has foibles and the characters are largely archetypes, but it’s not attempting to be a game changer and is going for showing teenagers and their problems/ antics shared with each other and the audience. It’s got a good nature to it and is hard to resist for its sheer quirkiness and witty nature. You get the feeling that for all the angst and eventfulness in the character’s lives, that there’s some light out there for them at the end when surrounded by friends and music. Fun can be gleaned from seeing certain stars at the beginnings of their careers in this comedy drama( chiefly Renée Zellweger and Liv Tyler) that has earned itself its place as a cult classic. Plus it provides one entertaining capsule into the 90’s complete with the fashions, records, VHS and lingo that dazzle. And you have to love the soundtrack that truly singles it out as a 90’s movie of the highest order.

 A game cast fit into their arguably archetypal parts that are well suited to them in an offbeat and idiosyncratic way. As the main sense of parental authority that isn’t stuffy or condescending is Anthony LaPaglia, who combines both a fatherly charm and a gruff  visage to the craziness around him. He’s a softie at heart though and functions wonderfully as the person who provides a sense of fun and respect towards his workers who all look up to him. Much humour and astute observation comes courtesy of Rory Cochrane as the witty yet unlucky Lucas. His deadpan humour and almost mystical advice to his friends is both in check and makes for most of the movie’s laughs. A luscious Liv Tyler is on hand to present pressured angst and a want to be more than just a goodie two shoes, coupled with notes of humour and sadness. Her blend of winsome appeal and longing is employed excellently here. Renée Zellweger in an early role aces it as her best friend who has a bad reputation but is a lot more than meets the eye. Zellweger savours the sassy one-liners that her part presents and delivers them with a wicked edge. Johnny Whitworth has the right attitude for the part of lovesick A.J, who can produce great art but it seems is unable to fully express his feelings of romance, while the main points of comedy come from the crazy and uninhibited turn by Ethan Embry as the stoner. Robin Tunney rounds out the main group with a decidedly dark yet acerbically funny performance as a girl crying out for help but also letting loose and just holding nothing back. 

And we now come to the man of the hour that is Maxwell Caulfield. He’s splendidly cast as the has been pop star whose attempting a comeback yet is never taken seriously by anyone. Caulfield captures the sleazy and entitled attitude of someone who doesn’t realise that their heyday is in fact over and that he’s an embarrassment full of arrogance and swagger. Complete with bouffant hair and bad spray tan, he’s a funny figure to witness and one that Caulfield plays very well. It’s really evident that Maxwell Caulfield is having a ball with this peach of a part. I enjoyed seeing a young Brendan Sexton III as the surly and amateur thief who begins to feel at home inside the confines of the store. In support there is Debi Mazar as his personal assistant who actually can’t stand him and sides with the store, plus the music stylings of Coyote Shivers and slacker humour from James ‘Kimo’ Wills.

So while it has its moments that detract from the overall product, Empire Records is still an entertaining film to watch, mainly for the performances and of course the music 

The Crow

Tags

1990's, Action, Alex Proyas, Angel David, Bai Ling, Brandon Lee, David Patrick Kelly, Ernie Hudson, Fantasy, Jon Polito, Laurence Mason, Michael Massee, Michael Wincott, Rochelle Davis, Sofia Shinas, The Crow, Thriller, Tony Todd

A Gothic fantasy/ action revenge thriller, The Crow dazzles on the visual front and weaves a melancholy yet pulse pounding spell over the audience. The accidental death of star Brandon Lee also impacts on the film with a grim sense of irony and sadness.

In a decaying, dark city where it always seems to rain and crime is almost ever present, rock star Eric Draven( Brandon Lee) and his fiancée Shelley Webster( Sofia Shinas) plan to get married on Halloween. They are deeply in love and are each other’s rock in the tides of violence that surrounds them. Then brutality strikes on Devils Night, when a street gang barges into their apartment and brutally kills Eric and rape Shelley. Shelly dies later from her wounds and Eric lies dead on the sidewalk. Sergeant Albrecht( Ernie Hudson) , who is one of the only decent people in this place of corruption is on the case and takes young Sarah(Rochelle Davis) under his wing. Sarah is a neglected waif who was incredibly close to the deceased couple and who now is looked after by Albrecht, as her drug-addled mother has no time for her . A year later, a crow lands on Eric’s grave and begins tapping on the tombstone. Moments later, this resurrects a confused and traumatised Eric. Stumbling back to his apartment with the help of the crow as his guide, Eric experiences flashbacks of that fateful night and swears revenge on the scum that killed him and Shelley. Donning striking clown like makeup, black clothing and realising that his wounds heal now that he’s been resurrected, he sets about tracking down the gang. Whatever the crow sees, he sees as he brutally sets about righting the deadly wrongs. The low level, scummy gang consisting of T-Bird(David Patrick Kelly), Skank(Angel David), Tin-Tin(Laurence Mason) and Funboy( Michael Masses) are setting fires across the dank city and don’t expect the vengeance coming their way. To the gang, it’s just another night to cause mayhem and indulge in violence, but it’s going to get a lot more bloody now that Eric is on their trail . As Eric eliminates the gang, it leads him up to twisted crime boss Top Dollar( Michael Wincott), who is a nasty piece of work and the one who rules over the chaos of the city. Violence unfolds as Eric seeks vengeance to be at peace and right the wrongs inflicted on him and his beloved , while influencing both Sergeant Albrecht and Sarah along the way.

Alex Proyas is a sensationally visual director who truly brings this mournful yet thrilling film to life. Lifting it from the comic book source, Proyas is on to something special with The Crow. He’s truly alive in the action scenes and when shooting them, while also bringing something else to the project. The flashy yet evocative aura is on point with how it delivers both thrills and story, particularly in the flashback sequences. It must be said that there are some areas where the film falls flat such as not enough backstory for some characters and occasionally an emphasis of style over substance . Saying that, Eric, Albrecht and Sarah are all well designed and explored and the flaws are pretty minor so I can forgive a few gripes. When it comes to the grisly yet thrilling action, this movie delivers with scenes of crazy action in high demand and prominence with its fast running time. On the visual front, The Crow is masterful and it’s sublimely dark and Gothic design is as haunting as it is beautiful. The city that the characters inhabit is both dark and dank and exquisitely painted, with the rare appearance of brightness coming up every now and then against the harsh rain that continues to fall throughout. The editing is stylish and reminiscent of a music video with more substance, and it’s hard to fault it on that score. The camera pans across this nightmarish world with precision and flair; with many moments slowed down to capture the impact of events as Eric goes about exacting poetic justice and other parts being kinetic when vengeance truly hits home for the scum of the streets( check the bullet laden shootout at Top Dollar’s residence for a great example). The comic book origins come through in the cinematography Dariusz Wolski who injects The Crow with ambience that sucks you into this unjust world that just got a dose of Karma. If anything, The Crow is a feast for the eyes but also has some depth and a cloud of melancholy to it. Brandon Lee’s tragic passing impacts on this sense of sadness but there is a grim irony also attached to it. Lee died just as he was about to make it in the mainstream in a freak accident and also soon to marry his real life fiancée, the irony being that his character comes back to life following demise. It swathes The Crow in a deep sense of sadness and what if possibilities for the actor and this made the film into a cult hit. Depth comes in how Eric just wants to teach them all a lesson and avenge his beloved; when he first rises he is confused and disorientated, followed by flashbacks that spur him on to become a weapon of revenge. He isn’t just a single minded killing machine as he doesn’t kill those who haven’t wronged him or Shelley, plus he brings some clarity to the lives of Albrecht and Sarah. He’s a romantic angel of vengeance and swift justice who you don’t want to cross. The soundtrack is pumping and all encompassing, backed up by the atmospheric and darkly romantic score from Graeme Revell. Both enable the film to also be an aural experience as well as a visual one. 

The late Brandon Lee heads the cast as the avenger of justice with a sinuous blend of tragedy, action star and intense demeanour. Lee has a dark sense of charisma that’s tempered with both an athleticism and a deep well of sadness. He’s undeniably hard to take your eyes off as he owns the screen whenever he’s around, which is nearly every scene. It’s sad that this was his last movie as he shows great promise as a movie star who could have gone places. Still it stands as a knockout performance that truly infuses The Crow with action and melancholy. Ernie Hudson is also a shining light as perhaps the most honest and thoroughly loyal characters in the film. He possesses a level of positivity and gravitas that lends itself beautifully to The Crow; signifying that the world inhabited is awful, but some goodness remains. Villainy comes in the form of the formidable Michael Wincott . Utilising his raspy voice and tall stature to his advantage, he imbues Top Dollar with a vicious nastiness and unbridled devilry that’s thrilling to witness. You really revile the character because of how well Wincott inhabits him. Rochelle Davis provides winsome relief against the gloom as the lonely skateboarding girl who has learnt to fend for herself and has forged a deep connection with Eric. As the gang of nasty individuals who are picked off one by one, there is David Patrick Kelly, Angel David, Laurence Mason and Michael Massee. Each doesn’t have to really stretch dramatic muscles, but all really give their characters a feral nature that suits the bunch of criminals they portray. You also get the greatness of Jon Polito as an underhand pawnbroker and the imperious Tony Todd as Top Dollar’s head bodyguard turning supporting roles into something memorable with short screen time. Bai Ling, though extremely bewitching to look at, is saddled with not much of a part. She’s mainly there to show a twisted relationship between Top Dollar and his sister and not much else. Sofia Shinas, seen mainly in flashback, provides an almost angelic presence that shows just how much she meant to Eric. 

Imaginatively action packed, darkly arresting and hauntingly gloomy, The Crow lives long in the memory of viewers owing to its take of vengeance and atmosphere of sadness that comes through.

Xena: Warrior Princess Season 5

Tags

1990's, 2000's, Adrienne Wilkinson, Hudson Leick, Jennifer Sky, Kevin Smith, Lucy Lawless, Paris Jefferson, Renée O'Connor, Ted Raimi, Xena Warrior Princess, Xena Warrior Princess Season 5

After the startling finale of Season 4, Xena swings back into action with its fifth Season, that stands as my second favourite after the iconic Season 3. It’s epic, enjoyable and has almost everything you’d want from the show. Be warned, spoilers may well follow in this overview of the penultimate season.

We pick up as Xena( Lucy Lawless) and Gabrielle( Renée O’Connor) are ascending into heaven following their brutal crucifixion. Following a battle between demons and angels, the two are restored to life by healer Eli . Joxer( Ted Raimi) once more joins them and finally tells Gabrielle his true feelings, which leads to a certain awkwardness between them but once more eases to friendship again. At first, following resurrection, Xena is not herself at all. The memories of being a warlord and her skill in battle are gone. Luckily, once creating a new and improved Chakram that links almost telepathically to her, Xena is back to herself again. Many changes, however, await her back in the land of the living. Chief among these is the fact that she discovers she is pregnant but hasn’t been with anyone in an intimate capacity. Xena still fights when the occasion arises, yet Gabrielle, who herself has honed her fighting skills and ditched the way of peace, is the one who takes up arms more readily this time around. We also have Ares(Kevin Smith) on the prowl, trying to get Xena on side by attempting to sway Gabrielle and those around her. This locks them all in a battle of wills as Ares is a difficult guy to resist, though for once he does seem to be quite genuine in his feelings for Xena. Once Xena gives birth to a daughter named Eve, all matter of evil seems fixated on it. This is because of the prophecy regarding ‘The Twilight of the Gods’; a time when humans will grow tired of Gods and will rise up causing those who have supernatural power to lose such abilities. It happens to Zeus, which angers other Gods who will stop at nothing to rid the earth of this child and sets in motion the aforementioned Twilight. Although Xena attempts to protect Eve, she knows that the God’s won’t give up in their search. With help from allies, she, Gabrielle and trick the God’s into believing they are dead, while Eve is placed in safety. What they hadn’t counted on was Ares really believing them and thinking he has lost Xens, he freezes their bodies. Awakening 25 years later, the duo find things have changed. Joxer is now near elderly and even has a skilled fighter son named Virgil(William Gregory Lee), plus the terror Rome has been through Greece. To Xena’s shock, her daughter has grown up to be a vicious warrior who goes by the name of Livia( Adrienne Wilkinson), and kills indiscriminately like Xena in her brutal past. The big question is can Xena and Gabrielle help reform Livia back into Eve before it’s too late and any more devastation can hit?

At this point in the series, I think producers knew exactly what they were doing and how to do it with a lot of confidence. Not that they didn’t know what they were doing before, I simply mean that obviously after a few years working on a show the formula is definitely set up and ready to fire on all cylinders. And once more we are given excitement, adventure along with depth, humour and character, which can’t be faulted and display the creative efforts of many at some of their finest. These are all things fans know and love the show for and in its penultimate series, it supplies them with this assortment of qualities. The music from the very talented Joseph LoDuca is again a high point . Although for the first half Xena doesn’t fight as much as usual(owing to the character’s pregnancy and the fact that Lucy Lawless was pregnant in real life too), it helps establish how much Gabrielle has learned throughout her travels and aids episodes that are Xena-lite. It compliments both, though it’s a kick to see Xena get back to fighting once more following the birth of her daughter. Season 5 is not flawless but the vast majority of it makes it a favourite of mine along with the aforementioned third season. Like that season, this one just has so much good in it that it’s essential viewing for quality and the atmosphere. The only real flaw is the role of Amarice, a scrappy Amazon who is actually lying that was seen late last season. She travels with the group but I just feel like she’s pretty superfluous to the stories and not really that interesting. Jennifer Sky does her best, but the character is rather forgettable. And some episodes in the middle area feel a bit like filler but are at least redeemed by the main bulk of successful episodes that showcase Xena at some of its most fun and darkly epic.

We open with the sensational “Fallen Angel”, which gets Season 5 off to a flying start. As Xena and Gabrielle arrive in heaven, a battle between angels and demons headed by Callisto. Gabrielle is pulled to hell, while Xena ascends. Soon the switching of roles and possibility of redemption and resurrection appears. The settings of heaven and hell are excellent as are the scores of angels, some very skilled in fighting and the vicious demons with their bloodthirsty intent engaging in intense battles. The episode looks fantastic with the sets for heaven and hell really standing out and backing up the themes at work. Xena transfers her light to Callisto( Hudson Leick signing off in emotional style) in order to save Gabrielle, making Callisto a newly born angel and restoring the good that would have been there if they’d never crossed paths. Its a sublime opening episode that contains action, heart and imagination which are all touchstones of the show. We finish with healer Eli, with the unbeknownst to him help from reformed Callisto, bringing Xena and Gabrielle back to life. Guilt, redemption and vengeance are the starting blocks and go to themes that are always explored well, and they help kick this season off with a bang and a promise of what’s more to come. Another zinger comes courtesy of tongue in cheek “Animal Attraction” with its anachronistic western references and the various facets of love playing out. In it, Xena journeys to help an old friend locked in a battle with her sheriff like ex. Funniest is Xena stopping bickering by announcing her pregnancy, much to the surprise of everyone. The spirit of the villainous Alti returns in ‘Them Bones, Them Bones’. Here she is attempting to corrupt Xena’s unborn child snd bring it into the darkness. With trippy angles and striking imagery of bloodstreams, animals, and lights, it’s a visual feast. Plus. there’s nice tipping of the hat to Jason and the Argonauts, with Xena and Alti’s spirits doing battle as reanimated statues. to I am a sucker for stuff like this and a returning Alti is once more a compelling villain who is devious and a worthy adversary for Xena.

A big emotional and important episode is found in  ‘Seeds of Faith’ .Peace preaching Eli tries to rally the people into waging a war of love against the Gods. Ares doesn’t take kindly to this and Eli dies a martyr at the hands of Ares, prompting consternation between everyone of whether his death meant anything or not. Watching the various reactions to his death is fascinating as everyone is wrestling with different paths of life and which way is correct, sublimely realised and displayed. As an audience, we do finally hear of the impending ‘Twilight of the Gods’ which enlivens events and sets the stage for much more drama. And crucially we finally learn how Xena’s pregnancy came into motion with the now reformed Callisto explaining that she is to be reincarnated and that she chose Xena to be the one who carries her spirit. It’s her way of giving something back to her old nemesis and at this point both women are even and have achieved redemption and atonement for their actions against the other. It is emotional and thrilling to watch. A big standout of an episode in a season thats by and large stacked with quality. Then we have “Lyre, Lyre, Hearts on Fire”, a lively musical episode that stands out and isn’t a carbon copy of ‘The Bitter Suite’ in Season 3. We find Xena, Gabrielle and Joxer out to stop a war brewing over who gets possession of an incredibly powerful lyre. To quell any fighting or further violence, Xena organises a battle of the bands to see who’ll claim it. The addition of modern songs in an old setting is rather inspired and the anachronistic instances are a real hoot. There’s also the sensational and scintillating “Amphipolis Under Siege”, which is one of my favourite episodes so far. It blends drama, crafty action and twisty turns that make it a special treat. In it, the goddess of war Athena( played very well and with an unnerving poise by Paris Jefferson ). It must be said that Athena isn’t completely without heart, she respects Xena yet knows that in order to preserve the Gods she must carry out a heinous act. Anyhow, she mounts a siege around Xena’s hometown, the villagers however are rallied to protect Baby Eve. Twists and turns abound as Xena goes into battle against Athena, with each showing just how skilful they are in the art of manipulation. Ares thinks he has Xena onside but he’s ultimately used by Xena and Gabrielle, much to his chagrin developed what seems to be genuine feelings for the warrior.  I particularly enjoyed seeing how well Xena and Gabrielle played everyone to perfection to protect Eve. The battles are exceptional choreographed and exciting( as is Xena running from flames in an inspired shot)and the personal drama of Xena, plus backup, doing anything for Eve is very involving. Plus, you have to watch carefully to see if you’ve uncovered the subterfuge used which is always quite fun in my book and it’s sneakily done. In short, a fantastic episode that’s fast moving yet still makes time for story, in the show and how on my favourites list. Then there is a sensational run of episodes that are simply dazzling and surprising, chief among these ‘Looking Death in the Eye” “Eve” and “Motherhood” . In ‘Looking Death in the Eye’, a visibly aged Joxer narrates the last adventure of Xena and Gabrielle, before their ‘deaths’. This framing device is suitably intriguing and leads to many twists as the dynamic duo fool the God’s but find themselves inadvertently setting in motion something even more startling. We discover events little by little in a fantastically staged episode that really sets the scene for what’s to come and throws up some cool surprises for the viewer. In ‘Eve’, Xena is in pursuit of her daughter after revealing her identity to her. It’s interesting to watch as it’s a flip of the situation with Hope and Gabrielle claiming she was just an innocent child, the only difference being it is now Xena in the hot seat having to contend with knowledge that her child has grown up to be a murderer. What really shocks is the slaying of Joxer by Livia/Eve’s hands, which genuinely shocks as he does diein bravery thought obviously weakened by age. And who can forget the finale of ‘Motherhood!‘, truly extraordinary and exhilarating viewing as the Twilight begins and Xena takes on the almighty Gods of Olympus.

Our main cast is once more on sensational form having truly grown and shaped their roles, it’s hard to picture any of them being played by anyone better. Lucy Lawless, of intense, blue eyes and oodles of appeal is on hand as the eponymous warrior atoning for her past crimes. She also has the strength and protective love of the character as she becomes a mother who can also kick ass when it’s needed. Xena is a woman of many facets, from tough, sarcastic fighter to smart, emotional woman who is flawed but likeable. You can’t ask for anyone better at getting across all these different angles to Xena than Lucy Lawless. She is Xena, it’s as simple as that. The same can be said of Renée O’Connor, who has charted the journey of Gabrielle from tag along to powerhouse assailant with a heart. Renée O’Connor clearly relishes getting to show more physicality than ever in the part yet keeping hold of a decent enough worldview. She’s more steely and ready to do what needs to be done with a dash of cynicism, while not completely forgetting her depth and understanding. Lawless and O’Connor once more bounce off each other with great ease and conviction. Although his character is often divisive among the show’s fandom, Joxer makes his mark again for the last time courtesy of Ted Raimi. He gives the character both humour and immense depth that we really feel sad when he meets his end. Despite arriving late in the season, Adrienne Wilkinson makes an impact. Playing Livia/Eve, she is handed the difficult task of essentially playing two disparate characters in a short period of time. Thankfully, she rises to the occasion and displays both a vicious cunning and a redemptive desire in her run of episodes, balancing between both personas wonderfully. Kevin Smith does some of his finest work here, shading Ares with a deep brooding and what seems like a genuine love for Xena. It’s nice seeing that he actually appears to care, rather than just the bravado he puts across as the God of War. William Gregory Lee portrays the son of Joxer as someone more skilled than their father but with a similar temperament and humour to match fighting skills. I’m interested to see the development of the newer characters on here, particularly Eve.

Below are my episode rankings:

1. Fallen Angel – A+
2. Chakram -B+
3. Succession – B-
4. Animal Attraction – A
5. Them Bones, Them Bones -A
6. Purity – B
7. Back in the Bottle – C
8. Little Problems – D-
9. Seeds of Faith – A+
10. Lyre, Lyre, Hearts on Fire – A
11. Punch Lines – B
12. God Fearing Child – B+
13. Eternal Bonds – B+
14. Amphipolis Under Siege – A+
15. Married with Fishsticks – D-
16. Lifeblood – B
17. Kindred Spirits – B
18. Antony and Cleopatra – A
19. Looking Death in the Eye – A+
20. Livia – A
21. Eve – A+
22. Motherhood – A+

Season 5 is a sensational penultimate season of Xena that boasts some of the best the show has to offer, I’m mightily satisfied and looking forward to the last season that awaits me.

 

Sister, My Sister

Tags

1990's, Crime, Historical Drama, Jodhi May, Joely Richardson, Julie Walters, Nancy Meckler, Psychological Drama, Sister My Sister, Sophie Thursfield

Inspired by the true life case of two maid sisters in 1930’s France who brutally murdered their employer and her daughter, Sister, My Sister makes for rather disturbing but intriguing viewing like a cross between a period study on class and a darkly historical crime drama. Headed by a fine quartet of performances, be prepared for both shock and horror as the story takes you to some uncomfortable places. 

It’s 1932 in Le Mans, France and Léa Papin( Jodhi May) comes from a convent to work as a maid for stern and stuffy Madame Danzard( Julie Walters) and her slovenly daughter Isabelle(Sophie Thursfield). She has gotten the job on the recommendation of her older sister Christine( Joely Richardson), who has worked in the household for a while. The sisters haven’t seen each other in years and are glad to finally be together with the estranged other. Neither group of women speaks to the other, much in the way that a bourgeoisie household works where people know their place and don’t deviate from tradition. Christine and Léa share a room upstairs and a bed, their workload is such that their main day off is a Sunday until 4 o’clock. Out of the sisters, Christine is the dominant sibling with underlying fury, while Léa is ever so eager to please and green in a lot of matters.Though the sisters are close, we see after they visit their mother that we never see, but know favours over Christine and takes a cut of their wages, that their past is very troubled. Her mother’s actions infuriate the temperamental and controlling Christine, who feels the sting of her mother’s abandonment years before to a convent and her deep devotion to her sister. Despite a jealousy towards her younger sister, the cloistered environment in their room and isolation from outside gives way to feelings of love far beyond just sisterly affection. Madame Danzard is rather oblivious to the attraction going on under her nose and is more interested with how well they are as obedient maids for her and her daughter. Her daughter Isabelle is a lady of not much in the way of prospects due to her sullen demeanour and lack of effort in appearance, though Madame insists and brow eats her over searching for a husband to secure her future. With the unhealthy attachment burgeoning between the sisters upstairs, the maid duties carried out by them begins to slip and Madame Danzard, with her beady eyes and vicious tongue, makes it known that she isn’t happy with them. Madame’s initial delight at getting two maids for nearly the price of one melts away to reveal a picky, vindictive woman who goes out of her way to humiliate her servants. Tensions start to boil over as the relationship between the sisters intensifies and Madame becomes more petty and cruel. Finally after nearly a year of suspicion and mounting tensions, everything comes to a head with a savagely, violent act that shatters the house.

Skilled director Nancy Meckler crafts a very claustrophobic and insular atmosphere of repressed emotions and a feeling on inequality amidst the four women, busting taboos too on the topic of incest between sisters. Meckler clearly knows what she is doing because she hooks you from the opening frame with the prospect of mystery, horror and drama with psychological overtones permeating the relationships explored. Sister, My Sister is in effect a chamber piece as it really only features four characters and all are female. A male photographer is heard speaking yet never seen by the audience, making us pay special attention to the ladies at the heart of this twisted yet grimly fascinating film. Screenwriter Wendy Kesselman knows the power of shared silences and how they translate into the struggle of class within the doomed house. They also highlight how not communicating due to the roles that society has doled out to these women can give rise to resentment and much misunderstanding, in this case of a deadly and vicious kind. I don’t believe the film condones the actions of the Papin sisters, rather Sister, My Sister speculates on what may have lead them to this act and does so with intrigue. A little more detail on certain points in the story might have been beneficial, but the impact of this haunting film more than makes up for quibbles. The cloistered environment transports to the viewer as the film rarely leaves the confines of Madame’s home; further sealing the sisters away from reality and letting them retreat into the taboo world of incest. The bedroom scenes between Christine and Léa are unusual and bathed in a bright, almost angelic light, suggesting that their closeness is a result of repression from being in a convent and that they have found an uncomfortably codependent relationship that goes beyond what is right and wrong. Yet they can’t quite see that and have become that isolated that they are above it, making the bright light of the scenes both ironic(given the murders they commit) and starkly noticeable in a film that’s largely quite dark in terms of visual style. Many scenes don’t have music, the main sound being either a clock ticking away or a tap dripping, allowing when music does appear to have atmospheric impact following pronounced silences and uncomfortable pauses.

What really anchors this already interesting and darkly enticing film is the quartet of lead performances. Joely Richardson dominates as the dutiful yet stifled and resentful Christine. Richardson’s faces burns with alarming and disquieting hate that at first is subtle, then blows up in powerful and shocking ways. It’s a credit to Richardson that we are enthralled by this woman who is coiled and just about to snap emotionally owing to not being able to control love, not knowing when to stop and childhood scars that haven’t gone. Jodhi May matches her as the initially timid Léa, who’ll do anything to please but is so easily lead that she can’t help but feel a bit of rebellious streak in the presence of her sister. May has this feeling of innocence to her, with her youthful face and sympathetic eyes, that could just as quickly turn to despair and dangerous once pushed. Both actresses work spectacularly together, possessing a quivering desire, unspoken bond, shared paranoia and feelings that may come spilling out in unexpected ways if they aren’t careful. Julie Walters, who for me never disappoints, shows off her versatility in convincing portraying a petty, vicious and mean-spirited lady who likes everything just so and is clearly a product of her snooty upbringing. Walters covers the part with prim manners and even a bit of humour, but she gets to the heart of this woman who believes she’s above everyone and won’t tolerate insubordination of any kind. Sophie Thursfield is given probably the most underdeveloped role, yet injects what she can into it. She’s mainly required to be the punching bag for her cruel mother but also strangely close to such a horrible woman. The relationship between Christine and Léa may be disturbing , but the one between Madame Danzard and Isabelle is just as alarming in how unhealthy the heaps of abuse Madame throws on her daughter are, who is then bemused, followed by being a figure of loyalty like a servile dog. 

A haunting movie of repression, jealousy and class struggles, Sister, My Sister will no doubt leave you reeling and disturbed by its content that is grimly rendered but very intriguing to watch. 

The River Wild

Tags

1990's, Action, Curtis Hanson, David Strathairn, John C. Reilly, Joseph Mazzello, Kevin Bacon, Meryl Streep, The River Wild, Thriller

A well directed action thriller that isn’t breaking any original ground but at the same time isn’t trying to, The River Wild has tension, great scenery and fine acting headed by an athletic Meryl Streep.

Gail Hartman( Meryl Streep) is a history teacher for the deaf who used to be a river guide along the rivers of Idaho. She still occasionally practices something similar, albeit in Boston and with no sign of danger or adrenaline rush. Gail is married to the distant Tom(David Strathairn); a constantly busy architect who spends more time on his job than being there for his wife and kids, in particular Roarke( Joseph Mazzello). The young boy resents his father for never being around and believes that his approaching birthday will be another when his father won’t show. Gail takes Roarke to Idaho for some white water rafting, Tom surprisingly tags along but their journey down river is still awkward as Tom doesn’t know how to connect with his family. Along their journey and as Gail tries to repair her strained marriage, they come across charming Wade(Kevin Bacon) and his friend Terry(John C. Reilly) . They are having trouble navigating the river and are pretty ill prepared. Gail starts to help them, which causes them, especially in the case of Wade, to become closer to Gail and Roarke. Gail enjoys the company of someone she sees as needing help and being likeminded. Roarke finds someone to talk to in Wade, in comparison with his staid father who he doesn’t have the best of relationships with, stemming from Tom’s frequent absence and dedication to his work. Though they are friendly at first, the fact that Wade and Terry keep popping up along the river alarms Tom and later Gail, as does some questionable actions like spying on Gail and Tom when they briefly wander off and being cagey on the reasons they are on the river. A reconnecting Gail and Tom decide to ditch Wade and Terry as subtly as possible after becoming increasingly alarmed by the duo. Just as try to escape with Roarke, they are violently stopped by Wade, who begins to show his cruel and nasty colours . It transpires that the duo have robbed a large sum of money and to evade capture decided to go down the river. They really hadn’t thought their plan through very well as Wade can’t swim and they must advance further than The Gauntlet to get away. The Gauntlet is a death defying set of rapids that adventurous Gail went through in her youth, but it has since been declared too dangerous following a death to one rafter and paralysis for another. Threatening the family, Wade forces Gail to take them to The Gauntlet, despite her warnings of its impending doom and how barely anyone makes it out alive. The family is separated after a scuffle between Tom and Wade. Tom, beginning to shed his image as a boring, corporate drone goes ahead on foot through the wilderness, hoping to figure out a way to ensure the safe return of his wife and son. But just how long can Gail protect her son and herself from danger as treacherous water lies ahead? And can Tom catch them up and derail Wade’s deadly plans?

Curtis Hanson efficiently brings out the adventure, tension and drama at the heart of The River Wild with considerable skill. The story may seem familiar and some beats that you’re well aware of take place, but Hanson has you glued with his direction. He knows it’s all in the mounting of tension and then letting things take flight, complete with some surprises. The use that the family has of sign language is an inspired choice that allows them to communicate in a way unfamiliar to their kidnappers and wonderfully succeeds in being in the family back together in crisis. The first part of the film is all in the build up that effectively introduces terror through little hints that take on greater meaning once the kidnapping and forcing to help begins, the big set pieces come. And they are spectacular scenes as the beautiful yet treacherous landscape is observed( in a stunning showcase of cinematography) as a race for survival ensues. Though not every part of the story works and it can smell of contrivance, the overall content is pleasingly action packed yet has some emotion to make a difference. For a movie conveyed with action and thriller elements, The River Wild doesn’t scrimp on character development or getting us to know the central players in the story. There’s already some tension before anything truly suspenseful happens. The family unit is already falling apart and thankfully being well observed, while resisting the urge to go into full on soap opera on water territory. Jerry Goldsmith is on score duties and his skill in dripping suspense in is key to the atmosphere here; along with sneaking in some gorgeous pieces of moving symphony to compliment the lush surroundings about to be overtaken by nail biting tension.

The acting is of a high calibre it must be said. Heading things is the ever impressive Meryl Streep flexing a sense of physicality we are not used to from her while retaining a humanity that grounds things. Streep is a force of nature; glowing with a radiance and an intimidating stare, coupled with protectiveness, vigour and freedom. Simply stated, Meryl Streep is the driving force behind The River Wild with a dedicated role that shows off her dedication to her work, a great physical presence of toned arms and legs and how she can slot easily into any genre like the true professional she is. Projecting evil and oozing dangerous charm is the talented Kevin Bacon, whose boyish appearance is used to great effect in masking the true depravity and violence of his character before letting it out. Bacon just really knows how to unsettle here as he plays games with the other characters and tries to really get inside their heads. His frequent clashes with Streep are a highlight as they face off wonderfully in a thrill ride of a movie. I always enjoy seeing Kevin Bacon in a film and in The River Wild it is no exception. Also very strong here and an actor that I feel is often overlooked is David Strathairn, who is superb as the absent father forced into action. Strathairn gets the sense of a man too wrapped up in his life that he’s become desensitised to everything important to him and also credibly charts his rise to being a reliable thinker and survivor. Once Strathairn is separated from the others, his journey begins and its pretty great to see him change so realistically and excellently from a boring workaholic to quick thinking and unrelenting in his hope of saving his family. Its a classy turn from the gifted David Strathairn. John C. Reilly shades his supporting role as lackey with some nice grey areas, while Joseph Mazzello plays the plucky kid with the right amount of spirit and hear.

For my money, The River Wild is an underrated action/thriller that is spearheaded by a sensational Streep and generates some real excitement. By the numbers as sine of it is,

Heat

Tags

1990's, Action, Al Pacino, Amy Brenneman, Ashley Judd, Crime, Danny Trejo, Dennis Haysbert, Diane Venora, Heat, Heist Film, Jon Voight, Kevin Gage, Michael Mann, Mykelti Williamson, Natalie Portman, Robert De Niro, Ted Levine, Thriller, Tom Noonan, Tom Sizemore, Val Kilmer, Wes Studi, William Fichtner

The delightful Gabriela asked me to take part in a blogtahon about Al Pacino. As he’s one of my favourite actors, I couldn’t refuse. So here’s my late entry with a review of Heat.

An engrossing action thriller with a sheen of depth and sense of character to it, Heat, with the talented Michael Mann at the helm, takes the heist film and fashions something breathtaking, surprisingly intelligent and always riveting.

In Los Angeles, Vincent Hanna(Al Pacino) is an overly dedicated, arrogant cop. His obsessed work rate has strained his third marriage to the tired Justine( Diane Venora) and made sure he can’t connect with his troubled stepdaughter Lauren( Natalie Portman) . He becomes aware of skilled thief Neil McCauley( Robert De Niro) when he and his team, consisting of talented but troubled Chris Shiherlis(Val Kilmer), edgy and pumped Michael Cheritto( Tom Sizemore) and new member crazed Waingro(Kevin Gage) steal bearer bonds from an armoured car. Things escalate when loose canon Waingro shoots a guard, causing two others to be killed to avoid being a witness. Neil is furious as he wanted a smooth operation and now they are wanted for felony murder. Mainly, Neil wants a way out of crime and lives by a code that says he can walk away from absolutely anything when he feels the heat coming from the law. This has largely made him a loner and someone who doesn’t form personal attachments. But things change when he falls for pretty and endearing Eady( Amy Brenneman). His right hand man Chris is good at the criminal job but can’t kick a gambling habit, which has estranged him from his understandably angry wife Charlene(Ashley Judd). Meanwhile, Hanna starts putting the dots together and unearths more plans of Neil’s to stage more heists, culminating in one last big score . Both men will collide and discover a strange parallel with the other, though they can easily take the other down if either encounters the other along the way. The game of cat and mouse gets more dangerous as the film progresses, also showing that  both men are people who live by their own code that has directed them in life

Michael Mann is firing on all cylinders with Heat; conjuring a story of cops and robbers with more on his mind than just action. Not that Heat ever shortchanges is on action, but the dedication to plot and the little details that form are simply sublime touches. I especially enjoyed how Heat opens; setting up the characters and revealing just enough to set the appetite then discovering how it’s all linked. It’s a little thing, but it really cements your attention on the film. Back to action and Heat delivers it in spades, with particular praise being reserved for the running shootout on the streets. With quick cutting, pulse pounding imagery and a general feel of genuine danger, it’s one of the finest set pieces put on film as bullets fly and bodies fall. On the point of how Heat looks, the moody colour palette and danger with which Los Angeles is depicted with is second to none. The setting becomes just as important as the characters in the story with Los Angeles appearing as dark, unforgiving and melancholy. And for a movie that is almost three hours long, the time flies as we are that engrossed by the film that we are witnessing. Sure it might seem an excessive run time and a few minor bits ramble, but every frame feels warranted as does the enviable attention to detail that I live for. It’s one of the most action packed but inventively detailed and I enjoyed how it weaved the characters and their lives together so it fitted. It’s hard to find fault with Heat, with only a few minor parts that ramble a bit. Apart from those very small things , it’s simply masterful as a film and I can recommend Heat enough.

Where Heat truly shines and rises above many a generic action thriller or heist/ crime flick, is in its unusual dedication to giving the characters substance and a sense of having lived life. We truly get a chance to know these people and watch how their lives unravel as violence, dedication and duality collide. The relationships at the core of the film, Vincent and his wife Justine , the chance of love for Neil and Eady and Chris’ damaged union with Charlene, all add something and are explored with rare insight .Credit is down to Michael Mann for fleshing these parts out and allowing us to go between who we want to succeed. It’s most unusual to watch as our sympathies and sense of loyalty swings like a large pendulum. They are two sides of the same coin and we get to see it in full bloom in the now famous coffee shop scene. We finally see two iconic actors meet on film( they were both in The Godfather Part II but never shared scenes) and the results are sublime. Everything comes together beautifully as two men bare their souls and find an unexpected sense of respect with the other, despite their current opposition. Elliot Goldenthal is the composer and his music is sublime at matching the varying moods on screen, with a certain percussive shimmer and drums taking a large part of things. Plus adding strings brings out a certain feeling of sadness as the main men find that their lives and have morphed into stubborn ways from which each tries to escape. It’s atmospheric and action packed all at once, without forgetting human emotion.

Heat scores highly for its impressively extensive cast, headed by man of the hour Al Pacino and fellow acting Titan Robert De Niro. Al Pacino is excellently convincing as the  strutting, obsessed cop who has all but destroyed what’s left of his personal life. With Pacino in the part you get the showmanship of a man who’s good at what he does and knows, tempered with underlying regret at how he’s obliterated anything close to him. It’s a fine showcase for the great man and layered too, displaying some of Pacino’s finest work. Matching him as the criminal counterpart is Robert De Niro as the master thief. Possessing a steely look, ruthless intelligence and a hidden gentleness, De Niro breathes life into the part of criminal with a code who finds it changing in never expected ways. Put simply, he’s electric in a subdued but powerful way. And whenever he and a Pacino meet, it’s simply extraordinary. Val Kilmer brings forth a weariness to his part of a skilled thief but hopeless gambling addict. For Kilmer it’s all in the eyes, which exude alternating strength, action and vulnerability throughout. Tom Sizemore has the dangerous persona and sense of inducing fear, particularly skilled when it comes to the action that erupts.

Though the film is largely composed of men, the women of Heat hold their own and are pretty integral to the story. Amy Brenneman, with her fresh faced charm and sense of kindness is the main woman in Neil’s life and though she doesn’t realise it, she starts to change his way of thinking. Ashley Judd, with a combination of grit and sadness, essays the part of a wife fed up with her husband’s inability to change. The part could have been a throwaway and thankless one, but Judd gives it dimension. The same can be said for Diane Venora, who is also a wife who wants more from her husband. She’s fierce and not afraid to confront him on it which I like. A young Natalie Portman, though only seen in a brief few scenes, still stands out as a troubled youngster struggling with life and not feeling like anyone is listening. Although seen for only a short time, Portman is pivotal to a later part of the story that impacts on Hanna.

The rest of the supporting cast is a regular who’s who of familiar faces who give life to the characters surrounding those at the centre. Standing out is William Fichtner as a slippery man in too deep and not knowing it and Kevin Gage as a very creepy guy who is part of the reason the team feels the heat from the cops. Then you have Jon Voight as the fence who you know has been doing the job as long as anyone can remember and Dennis Haysbert as a former criminal trying to do good but finding it tempting to slip back into a life of wrong. Plus that’s not forgetting Ted Levine, Wes Studi, Mykelti Williamson, Tom Noonan and a memorably pivotal Danny Trejo. It’s a stacked cast, but it’s Pacino and De Niro who are the centre and boy do they make Heat soar.

A dazzling, stylish yet unexpectedly human crime/ action thriller, Michael Mann’s Heat is a film that always gets your attention in nearly every department. Simply put, it’s unmissable.

The Addiction

Tags

1990's, Abel Ferrara, Annabella Sciorra, Christopher Walken, Drama, Edie Falco, Horror, Kathryn Erbe, Lili Taylor, The Addiction

A vampire horror movie with a difference, Abel Ferrara gives us The Addiction. An allegory for the evil within humanity seen through the prism of being a night walker, it’s an incredible, cerebral and stylish evocation of sin, redemption and darkness.

Kathleen Conklin( Lili Taylor) is a young university student in New York who is studying philosophy. She’s recently been examining the evil of the world and the roles people play in it. Little does she realise it will play a big part in her existence sooner than expected. One night after class, she is walking back to her apartment. A seductive woman who we learn in the credits is called Casanova( Annabella Sciorra) greets her and then violently pulls her into an alley. She then bites a terrified Kathleen’s neck and then as she’s walking off drops hints of something dark and sinister ahead for the student. After being treated for her wound, Kathleen starts to act strangely. She begins to develop an aversion to sunlight, grows increasingly aggressive and starts to crave human blood. She soon realises she is becoming a vampire and attempts to stop her bloodlust, but it proves difficult as her affliction grows more prevalent . She runs into experienced vampire Peina(Christopher Walken) who gives her a lecture on how he’s managed to stave off the hunger for as long as he can. But can his wise words persuade a rabid Kathleen to submit and seek redemption for the bloodshed she is causing?

Abel Ferrara crafts The Addiction as his own beast and refuses to compromise with expectations of what people necessarily want to see. The film is definitely a horror film but at its heart has a lot more to say. Horror and drama coalesce in this urban and existential study of  dependency and the very concept of evil, mostly driven home through the many instances of philosophy being discussed or heard throughout. Ferrara is clearly a maverick film maker who takes risks and plays by his own set of rules. In my book, it’s refreshing to see a director really bring their vision alive no matter how strange or startling the content. I mean, using black and white in a contemporary setting plus a hip hop soundtrack doesn’t sound like something you’d think of for a movie about vampires. But in my view, it works in modernising these creatures and placing them in a real world setting with real world topics being reckoned with. The Addiction argues that humans are in essence drawn to evil and resistance can be used, but can be futile if you’re not strong enough. This is glimpsed by Casanova’s speech to Kathleen about telling her to go away instead of biting her. Kathleen later uses this on her victims as a sort of reverse psychology and power base. Ferrara and his frequent screenwriter Nicholas St. John are more interested in reinterpreting the vampire lore we think we know( and less in constant gross out horror) and their efforts add depth and oddness by equating vampirism with drug addiction and even saying that evil sin is something we are all capable of. This is showcased in a number of scenes in which Kathleen’s lecture looks at the atrocities like the Holocaust and the My Lai Massacre. It’s startling for sure but it really encapsulates the notion of brutality and evil being all around us and having been there since the start of time.

The horror aspects are extremely well handled, being brutal and startling yet with a purpose to back it up rather than just for gratuitous violence and blood letting. It’s impressive how much Ferrara manages to pack into a film that’s little over 80 minutes, but he does it. It must be stated that The Addiction isn’t going to be a film for everyone. Some of it is undoubtedly confounding and many will see the allusions to philosophy as pretentious which isnt entirely wrong in some parts. But The Addiction weaves a certain spell on you of you let it and boy does it hey The black and white is an inspired stylistic choice from Ferrara and aided by the hypnotic cinematography of Ken Kelsch, New York becomes a dark, eerie but entrancing place of shadows and brutality. It’s almost another character in the film that’s how much of an aura we get here with a debt to noir being evident. The aforementioned hip hop/ rap music featured further establishes the urban atmosphere and impaired with a slithering score that rises and falls like the eponymous affliction. Both play a big part in keeping us watching and being engrossed in this horror drama with a lot more on its mind that just gruesomeness.

Lili Taylor, of petite stature and interesting eyes, is an unusual but spellbinding presence as the student turned bloodsucker. She plays Kathleen as someone who is idealistic and curious, but after her bite, turns quite cold, aggressive and dangerous. In between craving blood and completing her thesis, Taylor explorers the characters outlook on life through philosophy and how it morphs once she sees the world in a transformative way. Her frustration and desperation, coupled with an unsettling stare and rabid hunger are all accounted for and played wonderfully as Kathleen has to come to turns with what she has been changed into. Taylor has always been a reliable performer and she doesn’t disappoint here, in what is one of her best roles that requires her to really dig into the darkness and craving of someone hooked on the taste of blood. It’s quite a subtle performance in parts( Kathleen and Taylor herself look very innocent to the untrained eye), but that only enhances the dichotomy of her even more and adds layers to the later brutal acts she commits with full on force in order to feed her thirst for blood. Simply stated, Lili Taylor is the anchor of The Addiction and haunting in the best sense of the world as the victim turned bloodthirsty predator. Christopher Walken appears in what is essentially an extended cameo, but it’s well worth it and he makes the most of the time he’s on screen. His strange, sagacious demeanour, coupled with lashings of sarcasm at the state of his existence. He’s a vampire cutting down after all so he’s philosophical like a guru and sardonic in equal measure. It’s all in a way only the talented Walken could pull off. Annabella Sciorra, all slicked hair and dangerous appeal, wonderfully acts as the instigator of Kathleen’s transformation and though seen on in a handful of scenes near the beginning and end of the film, makes her mark felt. Watch out for early roles from Edie Falco and Kathryn Erbe as unsuspecting victims.

A very different take on vampires by a director with his own unique way of telling a story, The Addiction is well directed and acted horror/drama that won’t be to all tastes. But for those looking for a film that will make you think about it’s existential themes, it’s hard to go wrong with this most unusual film.