Escape from New York

Tags

1980's, Action, Adrienne Barbeau, Donald Pleasence, Ernest Borgnine, Escape from New York, Harry Dean Stanton, Isaac Hayes, John Carpenter, Kurt Russell, Lee Van Cleef, Science Fiction

The ever wonderful Gill invited me to take part in a blogathon to honour Kurt Russell and I simply couldn’t refuse.

Director

John Carpenter

Starring

• Kurt Russell as Snake Plissken
• Lee Van Cleef as Bob Hauk
• Ernest Borgnine as Cabbie
• Adrienne Barbeau as Maggie
• Harry Dean Stanton as Brain
• Isaac Hayes as The Duke
• Donald Pleasence as the President

John Carpenter’s science-fiction action film Escape from New York is rightfully held in high regard for its vision and plot. And with atmosphere, imagination and a bad ass lead character to boot, it’s hard to disagree.

The year is a then futuristic 1997. Manhattan Island has been turned into a maximum security prison where once you go in, you never come out. In the main area that was once the central hub, anarchy reigns supreme with violence and destruction. When the President’s plane is hijacked and he crash lands in Manhattan, he is taken hostage by the local crime boss The Duke and his goons. He was supposed to be attending a peace summit with the Soviet Union, but that goes completely out the window with the events that unfurl. Sneaky and manipulative Commissioner Bob Hauk then strong arms the most unlikely person ever to rescue the President from an almost certain death. That person is Snake Plissken, a cynical ex soldier, serving time for theft. Snake is understandably not at all on board with this plan. But after being told that if he rescues the President within 24 hours he could be pardoned, he accepts reluctantly. Though Hauk makes sure he will do it as he has micro explosives implanted in Snake’s neck that will detonate if he doesn’t complete the mission. Hauk knows that Snake would use the opportunity to escape but has him by a tight leash now. With time ticking away, Snake enters the city where he encounters violence from various factions and some assistance by a rag tag group of renegades. They consist of a joking cab driver, hard edged lady and know all.

John Carpenter keeps events imaginative and engaging, with his ingenuity on clear display. I’ve always admired what he brings to a movie and he has the story be one that is very taut and entertaining. Some will say that the film has dated parts, which it does in areas, but the anachronistic touches really add to the oddball personality of the film that it isn’t easy to see why it’s a cult movie. Carpenter plays up the outlandish aspects of the story and the desecration of humanity, mainly in the case of Snake and his no cares attitude towards everything. On the visual front, the practical effects have aged well, with the shots of New York through a futuristic lens being particularly inspired. We get a grimy dystopia to witness and one that has certainly influenced many a film since. Escape from New York is often billed in some quarters as an action movie(which in many cases it is), but for me it’s more about the moody atmosphere than anything else. The cyberpunk echoes and vision of a world in free fall really make sure that Escape from New York is a film to remember. John Carpenter himself provides the pulsing electronic score that compliments the futuristic setting and has just the right notes of darkness there too.

Kurt Russell completely owns the screen as the growling, scowling yet sardonically witty bad ass that is Snake. Russell provides the cynicism and swagger of a man who doesn’t believe in anything and is proud of it. He is ironically the last person you’d think of to rescue a president and that is what ultimately drives the plot. Seriously, Snake ranks as one of the most charismatic and bad ass anti heroes there is. Lee Van Cleef is on nasty form as the scheming and controlling Comissioner who uses Snake to his own advantage. Ernest Borgnine, Adrienne Barbeau and Harry Dean Stanton flesh out the crew that Snake falls in with excellently.With some serious style, Isaac Hayes rocks it portraying the crime boss who stands in the way of Snake succeeding. And there’s Donald Pleasence appearing as the President, who it is revealed is not as squeaky clean as he seemed.

Exciting, inventive and engrossing, Escape from New York is John Carpenter at his imaginative and full blooded best, aided by a fine performance from Kurt Russell as one of cinema’s best anti-heroes.

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Charlie’s Angels: Full Throttle

Tags

2000's, Action, Bernie Mac, Cameron Diaz, Charlie's Angels: Full Throttle, Comedy, Crispin Glover, Demi Moore, Drew Barrymore, John Cleese, Justin Theroux, Lucy Liu, Luke Wilson, Matt LeBlanc, McG

Film Title

Charlie’s Angels: Full Throttle

Director

McG

Starring

• Cameron Diaz as Natalie
• Drew Barrymore as Dylan
• Lucy Liu as Alex
• Bernie Mac as Bosley
• Demi Moore as Madison Lee
• Justin Theroux as Seamus O’Grady
• Crispin Glover as The Thin Man
• John Cleese as Mr. Munday
• Matt LeBlanc as Jason
• Luke Wilson as Pete

More sassy attitude, kicking ass and sex appeal adorns Full Throttle, the sequel to the entertaining first film. Like its predecessor, it’s completely brainless and illogical but so watchable due to that very fact, it’s difficult to not enjoy it.

The Angels( Natalie, Dylan and Alex) return to fight crime and go undercover to thwart dastardly plans. We pick up with the girls as they rescue a US Marshall from captivity in Mongolia. Returning to America, the girls are informed of what their latest mission will entail. This time the unseen Charlie sends them to recover a pair of titanium rings. Encoded in these rings are the names and real identities of everyone in the Witness Protection Program. It appears that someone wants to sell the rings to the highest bidder; which just so happens to be any of the major crime outfits in the world. Gearing up for action with an array of costumes and skills, the girls encounter former Angel Madison Lee, who has clearly turned her back on the side of good and definitely has something to do with the plot. Added to the mix is Irish mobster Seamus O’Grady, who happens to be Dylan’s former boyfriend who she put away in prison years ago before changing her identity. This revelation hits Dylan hard as she fought so hard to escape her past, only for it to now resurface. From fast car chases to martial arts fighting, The Angels are back doing what they do best; stopping bad and shaking things up.

McG is back making things bigger and employing his music video skills for the montage heavy and frankly ridiculous movie. Once again, it’s a movie that doesn’t take itself seriously and on more than one occasion, rips itself off. The plot is essentially a riff on the first movie yet is a little tighter( I say little because it’s still pretty all over the show but still highly fun). The plot is the least of anyone’s concerns when the action and innuendo filled lines hit override. That’s where the fun begins as the gorgeous girls go from a dirt biking race to performing in strip club, all in the name of stopping crime. Various sub-plots of their love lives are superfluous and don’t go anywhere, the colourful fights and array of disguises is where the film is at. Like the title says, Full Throttle is what it gives in terms of silliness and amusing sequences that are pure ludicrous and candy coloured from head to toe. The film can best described as the equivalent of a sugar rush. You know you shouldn’t enjoy it, but the sweetness is difficult to resist. And even though it is a major rehash of the first film, is anyone actually paying that close attention? The soundtrack is lively and pumping, granted there is nary a second music isn’t playing.

Cameron Diaz, with her mega watt smile and perky energy, is delightfully goofy and animated in the best possible way. Drew Barrymore stands out the most as tough chick Dylan, who has to deal with the ghosts of the past. The film is hardly deep at all but the little bits of drama that reveal more of her( whenever the chance is given) are played remarkably well by Barrymore. Lucy Liu provides many laughs and feistiness as the brainbox of the troika, who can really deliver Once again, the three share a good rapport and have sparkling levels of energy. Some actually effective laughs come courtesy of Bernie Mac playing Bosley; his loud and frequently hysterical outbursts are just what the doctor ordered in this fizzy cocktail of a movie. Demi Moore, looking gorgeous and acting diva like, has fun as the vampy former Angel now on the side of evil and taking no prisoners. She seriously has a good time as the villain of the bunch and suits the over the top nature of the film. Justin Theroux, though underused, is pretty menacing as Dylan’s psychopathic ex who wants revenge on her for turning him in. Crispin Glover returns as the inherently creepy Thin Man, unfortunately he is ill-served by the film that doesn’t make the most of his unusual appearance and mannerisms. In support, John Cleese gets a few good moments Alex’s oblivious father. Once again, Matt LeBlanc and Luke Wilson are not really necessary or well used in the film and their parts could have easily been trimmed.

 

Virtually a variation on the first film with more explosions and killer stunts thrown in, Charlie’s Angels: Full Throttle is guilty pleasure viewing of the highest echelon. You wouldn’t tell a friend you like this movie, but you’d secretly bask in its sheer dumbness when you needed a popcorn movie.

Charlie’s Angels

Tags

2000's, Action, Bill Murray, Cameron Diaz, Charlie's Angels, Comedy, Crispin Glover, Drew Barrymore, Kelly Lynch, Lucy Liu, Luke Wilson, Matt LeBlanc, McG, Sam Rockwell, Tim Curry

Film Title

Charlie’s Angels

Director

McG

Starring

• Cameron Diaz as Natalie
• Drew Barrymore as Dylan
• Lucy Liu as Alex
• Bill Murray as Bosley
• Sam Rockwell as Eric Knox
• Kelly Lynch as Vivian Wood
• Tim Curry as Roger Corwin
• Crispin Glover as The Thin Man
• Matt LeBlanc as Jason
• Luke Wilson as Pete

Based on the hit 70’s show of the same name, Charlie’s Angels is not the kind of movie you go to watch for deep, introspective lessons. It’s all about the action, silliness and sexiness of which it provides a slick and entertaining package.

The Angels of the title are goofy Natalie, sarcastic Dylan and knowledgeable Alex; three beautiful and strong women who work as private investigators for the unseen Charlie. He communicates with them via voice messages and agency handler Bosley. Getting out of scrapes and risking life and limb is what they’re good at, as well as doing it with some serious style and kick ass moves. Their latest case involves rescuing electronics millionaire Eric Knox, then finding his valuable software. The software is state of the art voice recognition that uses phones as its main communications base. If it were to fall into the wrong hands, it could be used to end basic privacy through the usage of satellites and put tens of thousands in mortal danger. The main suspect appears to be a rival businessman by the name of Roger Corwin, whose known to be very ruthless when it comes to getting his hands on the much moneymaking thing. Cue much action, chases and sexy outfits and it’s another day at the races for the Angels. But something more sinister may in fact be right under their noses and ready to strike.

From the get go, director McG, who used to be a prominent stylist of music videos, lets us know that this film is one to just sit back and bask in with his brash use of colour and tongue in cheek humour. He isn’t trying to be intellectual in the slightest and that very approach makes Charlie’s Angels a big guilty pleasure. It’s a pastiche and ode to glamour of the past( the original theme tune and voice of Charlie remains the same) and modern technology that bathes in its own craziness. I mean how can any of the film be taken seriously when you have these ladies defying gravity with their karate moves and changing clothing at lightning speed, in between disposing of bad guys? And yet, that is where the fun lies, in the sheer implausibility and fantasy of it all. None of this is rooted in the real world and doesn’t try to be; it just wants you to have a blast on the action score and comedy and not aspire for anything else. With colourful splashes of quick editing and slow motion for sensual purposes, the film whizzes along at such a rapid rate that you don’t have to think about a single thing, just being thrilled and excited is the response that will most likely garner. Watching the sexy trio move from one outrageous situation to the next is fun enough in itself as they kick serious ass and showcase bountiful sex appeal. Laughs and naughtiness go hand in hand( watch as Alex dresses up dominatrix style to infiltrate a corporate facility and causes every male worker to be her slave.) High energy and a prominent soundtrack ensure that Charlie’s Angels is a kinetic ride that doesn’t require brain power, yet wants you to just surrender to its frequently goofy content.

The gorgeous trio of Cameron Diaz, Drew Barrymore and Lucy Liu contribute significant fun and sexy prowess to match. It helps that they look like they’re having a really fun time playing the glamorous crime fighters, who get to raid the dress up box frequently and dispatch sassy one liners. That enthusiasm( from Diaz’s ditsy but sometimes very resourceful Natalie, Barrymore’s sassy, attitude heavy Dylan and Liu’s sophisticated and poised brainiac Alex ) is the key to the enjoyment of Charlie’s Angels as they sell the silliness all the way. Bill Murray is hilarious as the occasionally bumbling and sardonic Bosley, with his knack for humour in high supply and an utter delight to watch. Sam Rockwell is pretty eye-catching as the man supposedly in trouble, who might be quite different from the geeky persona he projects. Kelly Lynch is much the same as his partner who just know is dodgy from the moment she appears. Tim Curry does what he can with his ludicrous material and is quite amusing, while Crispin Glover is ideally unusual and freaky as an assassin known as The Thin Man. Matt LeBlanc and Luke Wilson on the other hand, come off as rather superfluous when playing two unsuspecting boyfriends of two of the Angels. Considering the cheesy script, the cast is mostly competent, particularly the sexy Angels.

It’s scattershot at best and virtually devoid of any real plot, but Charlie’s Angels delivers the fun and sassy goods, bolstered by the energy of the three women at the front of it. Defiantly ridiculous and outrageous, it’s best enjoyed as cheesy fodder and sexy fun.

Brotherhood of the Wolf

Tags

2000's, Action, Émilie Dequenne, Brotherhood of the Wolf, Christophe Gans, Fantasy, Foreign Language Film, Horror, Jérémie Renier, Mark Dacascos, Monica Bellucci, Samuel Le Bihan, Vincent Cassel

Film Title

Brotherhood of the Wolf

Director

Christophe Gans

Starring

• Samuel Le Bihan as Grégoire de Fronsac
• Mark Dacascos as Mani
• Jérémie Renier as Marquis Thomas d’Apcher
• Émilie Dequenne as Marianne de Morangias
• Vincent Cassel as Jean-François de Morangias
• Monica Bellucci as Sylvia

An audacious melding of more genres that you can shake a stick at and Taking basis from tales of an alleged beast in the of France, Brotherhood of the Wolf is enthralling and unusual in the best sense of the word.

The year is 1764 and in the province of Gévaudan, a spate of brutal killings of young girls and children is attributed to an unseen predator known as The Beast. As time passes, the killings rise rapidly in and other parts of the land, leading to much upheaval and panic as to whether the creature is something of this Earth. In response, The King of France sends two men to make some sense of what is happening. These two men are Grégoire de Fronsac, a naturalist and talented sketch artist and his blood brother companion, Iroquois Mani. They find lodging at the house of a respectable family of high-ranking, becoming friendly with the young Marquis Thomas d’Apcher, who has a big imagination and a lot of heart. The dashing Fronsac is skeptical of the Beast’s authenticity or that it is something demonic, yet must investigate this thing that is baffling and devastating the land. He along with Mani is frequently tested by things that don’t add up regarding the alleged monster. Many describe it as a giant wolf, but others who survived it claim it was a supernatural being. The authorities keep a lot close to their chest, which hinders the search for The Beast and leads to more questions of just what the purpose and reality of the Beast truly are. Meanwhile, Fronsac finds himself attracted to noblewoman Marianne de Morangias, much to the chagrin and jealousy of her one-armed brother Jean-François, who has inappropriate yearnings for his sister. Something of a libertine, he also has his head turned by the tarot reading courtesan Sylvia, who lures him into her twisted web. The attacks of The Beast continue to alarm everyone, and the intelligent Fronsac, along with the sensory perceptions of Mani, believes he is getting nearer to discovery. For what lies at the centre of the Beast’s mystery is something way beyond what either man expected it to be

Gans is an adventurous film maker it must be said and that puckish quality is put to phenomenal use in this bricolage film, that always has a kinetic feel to it. There is no shortage of drama or eventfulness in Brotherhood of the Wolf that ranks it very high on the excitement and swashbuckling action. From the standpoint of visuals, the movie is so alive and a lot of careful craftsmanship has gone into the sets, costumes and overall atmosphere. The editing conjures up a sweeping and adventurous spell, complete with clever dissolves and overlapping imagery for maximum impact. While it could be accused of over egging the pudding with the sheer amount of genres at work, Brotherhood of the Wolf is nothing short of high entertainment and the very fact that it is so unusual is what makes it strong. Half of the fun in the movie is trying to see what will happen next or what tone it will adopt, which is exemplary in my book. I mean you just look over how many elements the film juggles and your mind is blown. You’ve got the feelings of fantasy and horror through the bloodshed and peculiar nature of the beast( which for a long time is effectively shrouded in shadows before revealing itself). Action is frequently shot like that of a spinning martial arts movie, specially prevalent whenever is around. And obviously there is something historical in the film from the fact that the material of The Beast of Gévaudan is still something of a strange mystery. For many, Brotherhood of the Wolf may confound with the sheer amount of things going on in it. But wouldn’t you rather have a film that  is filled to the rafters with content instead of a movie where noting of much value unfolds? The music bursts with unbridled energy from the very first frame. You couldn’t have asked for a better score to match the devilishly blended cavalcade of events going on.

Samuel Le Bihan is a good fit for the thinking and slightly rakish Fronsac, who knows something is very amiss in this affair. He gets across the funny and intellectual side that slowly paves the way for a personal streak of vengeance and fury, as the mission grows to be something personal. The morphing from thinker to full on fighter is handsomely handled by Le Bihan. The mainly silent but intense Mark Dacascos lends a spiritual and physical grace to Mani, from his movements to his mannerisms that are largely quiet but when needed pronounced. Dacascos possesses an unearthly poise and athleticism that make the role of Mani one of action as well as soulfulness. Young Jérémie Renier is suitably as the youth who becomes enraptured and curious in helping the two men in their discovery. It helps that has a charm and impressionable wide-eyed expression that is appealing and endearing. The three main guys of the picture work well with each other, obviously bouncing off the difference in personalities and attitudes that are brought together. A demure Émilie Dequenne handles the part of a stifled lady of prominence, who silently chafes at what is expected of her and is more than just an obedient observer when the occasion calls for it. Vincent Cassel nails the sneering arrogance of the warped nobleman whose desire for his sister causes a lot of creepy conflict, especially with Fronsac. Monica Bellucci seductively steams the screen up as the most mysterious lady of the night, who may very well have more answers than she gives out. Sly and capricious spring to mind when talking of her character and the stunning Bellucci plays that to the hilt.

A hugely exhilarating motion picture with deep imagination and a clear love of pulling things that shouldn’t really go together into something spectacular, Brotherhood of the Wolf is one of the most unconventional movies you’re likely to see, but that is what causes it to be so arresting.

V for Vendetta

Tags

2000's, Action, Hugo Weaving, James McTeigue, John Hurt, Natalie Portman, Political Thriller, Stephen Fry, Stephen Rea, Thriller, V for Vendetta

Film Title

V for Vendetta

Director

James McTeigue

Starring

• Hugo Weaving as V
• Natalie Portman as Evey Hammond
• Stephen Rea as Eric Finch
• Stephen Fry as Gordon Deitrich
• John Hurt as Adam Sutler

A provocative and very arresting political/action thriller based on a comic, V for Vendetta is a confronting movie that tackles a lot of controversial topics and ideas with a sense of style and a brain that is sometimes lacking from films usually on this nature.

In a futuristic version of London, chaos has blighted everything along with an oppressive government. Being not dutiful to the ruling power results in imprisonment and death. Activists, homosexuals, and people of different races are frequently targeted just for being different. A virus has claimed many lives in the United Kingdom and Europe. Most prominently is the government in power, run by Adam Sutler; who exercises cruel control over nearly every aspect of the population’s lives. Evey Hammond is a meek young woman who works in a broadcasting company( that churns out propaganda to the people to keep them in line) is caught one night out after enforced curfew. The secret police threaten her and attempt to attack her, but someone comes to her rescue. That someone is V, a masked vigilante in a Guy Fawkes mask, who is skilled in swordplay and fighting. After saving Evey, he demonstrates his real purpose of spurning the population into revolution by blowing up the Old Bailey. The fascist like government doesn’t take very kindly to V’s actions, particularly when he later uses the broadcasting company that Evey works at to display his message of rising up. Every is caught in the middle of all of this and must decide where her loyalties lie. Meanwhile, Chief of Police Eric Finch investigates any leads he can into V, yet finds that his loyalty to the government may very well have been misplaced and manipulated over the years. V’s plans gather a quickening pace as he takes on the corrupt powers that be, with Evey becoming something of an unlikely ally and then ultimately a strong supporter of his cause.

The director, James McTeigue does an inspired and button-pushing job with his directions. He allows the political nature of V for Vendetta to take the centre stage and all the questions that go with it, while never sacrificing action in the process. The film is very much a thinking person’s film and while there are fight scenes and action, it never becomes repetitive because the essence of the story is kept intact. V for Vendetta presents an uncomfortable and shocking possibility of a future that is ruled with an iron fist and with extreme prejudice. Racism, homophobia, the accountability of the powerful and the manipulative agendas of government all come under the spotlight and are never shied away from. This film raises many terrifying what if scenarios that tap into our fears of what the world could become, which isn’t outside the realm of possibility when you think about the countless changes that this world has endured. There is something even timely about the film as it deciphers how fear and panic can be spread and lead people to be threatened by those more powerful than them. Now there are those that will view V for Vendetta as a film that is propaganda or in some cases a dangerous film that advocates terrorism( which I have heard a number of people imply), but I wouldn’t say that the film goes really far with those things. Yes, the main character is someone who uses violence and devastation to make his point, but I think it is up to the individual person to form their own opinion on what the film is presenting and what message it puts across. That’s the way I view V for Vendetta, it can be read on a number of significant levels. Some won’t agree with what it has to say and others may take note, but in the end, isn’t a film supposed to get you thinking? Granted, it may bang the political drum a little too loudly at fleeting points, but the topics it brings up are definitely thought-provoking and stay with you for a long time afterwards. On the visual side, the colour scheme that largely features red, black and white is memorably hard-hitting yet oddly resplendent in execution; showing a world at its knees and the potential of change emerging with the presence of V from the shadows. And there is quite a lot of action going on in V for Vendetta, as the masked title character does brutal battle with other forces in strikingly shot fight scenes. A steady score rises in levels along with events, forming a somewhat rousing musical accompaniment to both V’s aims and Evey’s journey.

As the eponymous V and with only movement and voice to use, Hugo Weaving is masterful. His deep voice is utilized to maximum impact, investing the role of the masked V with an elegance and intelligence. He may be a character capable of lethal and fatal action, but there is something so immersive about him that you can’t help but watch. His graceful movements almost mirror those of a proficient dancer, as he glides with purpose and something deadly too. The part wouldn’t have been the same without someone of Hugo Weaving’s calibre in the role, he just completely embodies it. Natalie Portman is just as good in the role of Evey; whose encounters with V and the aftermath provide a lot of thrust of the narrative with Portman giving a range of feeling to the part that grows stronger and more pronounced as the film progresses. If you’re expecting the part of Evey to be someone who kicks ass and physically fights, you aren’t going to get that. And to think that misses the point that she is an ordinary woman thrust into difficult circumstances and forced to make a stand. Portman plays the journey of her subtly yet expressively, ensuring that there is a natural progression that is believable from scared girl to fearless woman ready to do something. Although her accent is a little shaky, that’s the only foible in the work from Natalie Portman( who memorably shaved her head for the part), who emerges with a strong performance of gathering gumption and depth. The excellent Stephen Rea is well-chosen for the role of the police chief, slowly peeling the layers of deceit back and going between being frightened of V and inspired by him. Solid support comes courtesy of Stephen Fry as a television host having to hide who he truly is and the late, great John Hurt as the imposing dictator with a whole lot of power.

A movie with a lot to say and the balls to go forth with it, V for Vendetta is a film that elicits discussion from many, due to the things it addresses and the ultimate message. For me, it is an engrossing film that while it has required action, puts the story first and packs a punch with its refusal to lessen the blow of what it covers.

Lady Snowblood

Tags

1970's, Action, Eiji Okada, Foreign Language Film, Lady Snowblood, Meiko Kaji, Noboru Nakaya, Revenge Thriller, Sanae Nakahara, Thriller, Toshio Kurosawa, Toshiya Fujita

Film Title

Lady Snowblood

Director

Toshiya Fujita

Starring

• Meiko Kaji as Yuki
• Toshio Kurosawa as Ryūrei Ashio
• Eiji Okada as Gishirō Tsukamoto
• Sanae Nakahara as Kitahama Okono
• Noboru Nakaya as Takemura Banzō

A stylised and brutal film that also manages to be beautiful at times, Lady Snowblood is quite the experience as the title character slashes her way for retribution. A film that had a huge influence on Kill Bill, Lady Snowblood stands very well on its own feet as an eventful and arresting Japanese action/ revenge thriller, based on a popular manga series.

We open with a baby girl being born in a prison to a mother who speaks of her being an instrument for vengeance. She dies shortly after, and the baby who is named Yuki, is raised by a guard and a master. The vengeance her mother spoke of relates to a past event in which her husband was murdered and she was raped by a group of four criminals. Her mother killed one of the group and was sentenced to life in prison. Conceiving a child, knowing that it will one day deal out retribution, Yuki was created for this purpose that will be hers from birth. Yuki is trained to become a warrior as a young child by her skilled master, knowing that as she grows older, her destiny of retribution beckons. Turning 20 and with the Meiji Era upon everyone, beautiful Yuki starts her bloodthirsty quest. She manages to locate people through contacts and her quiet unassuming demeanor, that covers her grasping rage that is concealed much like the katana in her umbrella. The taking down of all of these corrupt and villainous people is going to be anything but simple, yet Yuki is completely focused and nothing is going to get in the way of her goal and what she was created for. Along the way she meets Ryūrei Ashio, a writer who documents her story( naming her Lady Snowblood) as it gathers momentum and Yuki eliminates the criminals who destroyed her mother, one by one.

Toshiya Fujita is an impressive and dazzling director, whose approach to the material brings out how dynamic the various threads of genres it covers, as they are pulled together for a memorable movie. Fujita’s largest achievement and asset in his weaponry is his spectacular eye for using the camera in so many unique ways. Jump cuts, point of view shots and a collection of gorgeous swirling zooms are just some of keen stylistic choices that leave you with your mouth wide open. Taking the nonlinear avenue was an inspired choice that pays dividends as we slowly gain information about Yuki, her past and purpose that don’t for a minute feel distracting. The film could have easily become a jumbled mess, but the use of narration and techniques make certain that the nuggets of knowledge we gain are not just overly filler and actually means something to the plot. While Lady Snowblood is a very violent film with geysers of blood at almost every turn, it strangely becomes serene and breathtaking, even in moments of horror and bloodshed. This is largely down to the striking colour scheme and cinematography( largely consisting of red and white) that memorably mirrors the heroine at the centre, who is very beautiful but capable of vengeance for which she was born for and executes with extreme prejudice. The choreography of the fight scenes is handled with a balletic poise and nimbleness, wonderfully realised in blood-soaked glory through the aforementioned multitude of camera techniques and visuals. Yet although the revenge and violence of the piece draws the attention, Lady Snowblood masterfully allows a commentary of a changing time to seep in. The setting is the Meiji era, where Western ideals where becoming popular in place of tradition in Japan, leading to some unrest that the film depicts at a lot of points. It is a great detail in the film as it clearly has more on its mind than just hack and slash, which is kept on an even keel with aplomb and enough entertainment to supply both. And a genuine unpredictability to parts of the narrative keeps the film bubbling on with  surprising elegance amid the savagery. Music wise, Lady Snowblood takes many paths, further heaping the disparate influences it has on everything.

Meiko Kaji spearheads the movie as the eponymous warrior, whose piercing stare along is enough to do damage. Kaji uses her glacial beauty and combines it with a supple grace and almost unearthly stillness that makes Yuki a beautiful but fearsome character. The character is not without compassion, but the biggest highlight of her is her will and vengeance that are embodied strikingly by Kaji with alarming intensity. The sheer amount of rage that Meiko Kaji projects through her eyes is striking and at times frightening, you won’t forget her intense orbs as they burn across the screen with a searing amount of ferocity. Toshio Kurosawa impresses as the writer who tells Yuki’s story and may have a secret to hide. The three actors playing principal villains of the piece, Eiji Okada, Sanae Nakahara and Noboru Nakaya all convey nastiness and gleeful evil to a very successful degree. Everyone is fine in their roles, but it is Meiko Kaji that retains the largest impact as the mistress of retribution and revenge.

A highly influential film that boasts beauty and barbarism in quick succession, Lady Snowblood stands as a compelling film of style and substance.

Lucy

Tags

2010's, Action, Amr Waked, Choi Min-Sik, Luc Besson, Lucy, Morgan Freeman, Scarlett Johansson, Science Fiction

Film Title

Lucy

Director

Luc Besson

Starring

• Scarlett Johansson as Lucy
• Morgan Freeman as Professor Norman
• Choi Min-Sik as Mr. Jang
• Amr Waked as Pierre Del Rio

Lucy comes courtesy of director Luc Besson and emerges as a wholly ludicrous but enjoyable action/science fiction film. It’s big ideas and imaginings get a bit over the top and out of control, but some curious theories, bright visual palette and Scarlett Johansson as the eponymous character, more than engage with you, even when the overall film itself gets wildly uneven.

Lucy is an American woman, studying in Taipei. The film starts as her latest boyfriend and slime ball coerces her into delivering a mysterious case to a shady man named Mr. Jang. Lucy doesn’t want to do it, but her beau handcuffs her to the case leaving her with little choice. After this, Lucy is kidnapped by Jang’s associates, who it transpires are all in the Mob. Along with a few other men and through force, a bag of drugs is sewn into her system, and she must act as a drugs mule, otherwise those closest to her will be killed. During a torturous isolation, Lucy is severely beaten by the guards. One of these moments has big consequences, as the drugs that were implanted in her for trafficking burst and leak into her bloodstream. Quickly, Lucy grows incredibly powerful and escapes. From this moment on, her abilities advance alarmingly with her being able to not feel pain, manipulate objects and people and become almost impervious to harm. As she unlocks more of her brain power, the dangers arise as no one is sure just what will occur when she hits the highest level of brain activity. Professor Norman, a respected scientist who has studied topics relating to the powers of the cerebrum, becomes fascinated and curious of this young woman and just what she is capable of. On top of this, the mobsters are on her tail, which combines with her attempting to discover more about her accelerating powers. The main question is, just what will transpire and how dangerous will it be when Lucy reaches 100%?

Luc Besson has always been a stylish director, which he shows off again generously  here. Yet while his direction is far from his best as it leaves things a little too ambiguous, his penchant for strong female warriors remains in a great quantity. The presence of the what if possibilities of the human brain(taking cues from the myth referred to in the film that humans use just 10% of their brain functions) act as both a string to the film’s bow and something that drags it down. It’s hard to explain as it ends up a bit of a mixed exercise in storytelling and ideas it brings into play. Lucy excels the most when delivering action and thrills, of which many can be gleaned. Also when it poses some philosophical questions regarding existence and time, the film shines. A great example is a scene near the end that is visually arresting and compelling to watch, but I won’t spoil it in case anyone hasn’t seen it. The film as a whole is more than a bit messy, but that scene is ace. Yet for all the probing of matter that goes on, the science and events grow absurd and a little repetitive, mainly in the mid-section. Still, somehow I couldn’t divert my eyes from Lucy, which suggests that it at least made some impact on my viewing experience. The most arresting and attention grabbing element of Lucy was the general unpredictability arising from what Lucy’s powers and capacities would reach too, and how many were exhibited with science fiction flair. These moments were resplendent with verve and sparks of imagination, that rose above the jumbled science and lack of real logic. The visual side of Lucy is superbly designed and detailed, particularly the shots of Lucy’s body on the inside as power and acceleration take their place in her blood through rapidly speeding shocks of light that keep going and increasing. A pounding soundtrack hits just the right feelings of something mysterious and dangerous about to hit.

Scarlett Johansson is one of the best things in Lucy. As the title character, she has enough charisma and presence to make the part memorable. The luscious Johansson is most adept at displaying Lucy’s shift from waif like innocent to omnipotent being with a detached confidence; as Lucy’s emotions thaw and all that makes her human is replaced by knowledge and steel. Some will say that she is a blank slate, but her intense eyes and focused demeanor boost the character to something else that other actresses would not have been able to do. Morgan Freeman is given scant material in a pretty thankless role, but in a style typical of him, he makes what he has good and filled with the intelligence we have come to associate with the great man. Choi Min-Sik is effectively used as the nasty mob boss who tangles with Lucy, while Amr Waked suffers from a badly written part of a police captain caught up in everything, yet at least attempts to ring something true out of it.

It’s completely barmy and preposterous, which both helps and weakens the film, but there is enough action and points of interest to be found in Lucy. Plus, the allure of Scarlett Johansson in the title role bolsters it significantly. It’s messy and scattershot, but I found myself largely entertained throughout this outrageous venture.

Smokin Aces

Tags

2000's, Action, Alicia Keys, Andy Garcia, Ben Affleck, Chris Pine, Common, Crime, Jason Bateman, Jeremy Piven, Joe Carnahan, Kevin Durand, Martin Henderson, Maury Sterling, Nestor Carbonell, Peter Berg, Ray Liotta, Ryan Reynolds, Smokin Aces, Taraji P. Henson, Tommy Flanagan

Film Title

Smokin Aces

Director

Joe Carnahan

Starring

• Jeremy Piven as Buddy ‘Aces’ Israel
• Ray Liotta as Carruthers
• Ryan Reynolds as Messner
• Alicia Keys as Georgia Sykes
• Taraji P. Henson as Sharice Watters
• Tommy Flanagan as Lazlo Soot
• Nestor Carbonell as Pasquale Acosta
• Chris Pine as Darwin Tremor
• Kevin Durand as Jeeves Tremor
• Maury Sterling as Lester Tremor
• Andy Garcia as Deputy Director Locke
• Common as Ivy
• Ben Affleck as Jack Dupree
• Martin Henderson as Hollis Elmore
• Peter Berg as Pete Deeks
• Jason Bateman as Rupert Reed

An all out violent spectacle of crime, action and weirdness, Smokin Aces is best enjoyed as a brainless action flick. Though saying this, the film attempts to get more serious which doesn’t exactly sit well with the rest of the piece. Smokin Aces still keeps you entertained throughout with the ensemble cast and shocking events, but it is a bit of a mess.

Las Vegas magician and gangster wannabe Buddy ‘Aces’ Israel is involved with the Mob( who have helped his growing success) as he wants a piece of the action. Like all wannabes, he has messed up a lot and knowing this, he has now become a turncoat. He promises the FBI crucial information on the Mob, in exchange for his safety. Yet the Mob already knows of Buddy’s traitorous behaviour and the head of the crime family places a $1 million bounty on his head. Meanwhile the FBI, under the command of Deputy Director Locke has ordered two of his agents, Carruthers and Messner to go to a hotel in Lake Tahoe where Buddy is holed up in the penthouse suite. They are to make sure nothing happens to him, as his testimony is extremely valuable for the FBI. As the bounty on the weasel that is Buddy is so high, all sorts of criminals and mercenaries come out of the woodwork for a piece of the action. These include sexy contract killers Georgia Sykes and Sharice Watters, torture expert Pasquale Acosta, bail bondsman Jack Dupree and his two fellows friends, a man who specialises in disguise Lazlo Soot and three crazed Neo-Nazi siblings, The Tremor Brothers. Yet events change for the FBI’s plans regarding the washed-up Israel and something sinister is definitely a miss, which puts Carruthers and Messner in very real danger. As the parties of assassins and contract killers reach the hotel, all matter of hell is going to break out. Everyone converges in bloody fashion as they attempt to either kill, capture or save Israel who is a much wanted man, dead or alive.

Joe Carnahan writes and directs Smokin Aces as a shoot em up slice of carnage and chaos. I did think he got for the most post the right vibe for this film, with strange and darkly comedic undertones thrown into the blender. He has a sure hand on the action that implodes from all angles once everyone reaches the hotel and is more than adept with style. His visual eye can best be described as frenetic and adrenaline infused, as he barely pauses for a breath and bombards you with quick flashes galore. It’s all very unusual but fits the absolute crazy tone of the film. It’s when he tries to deepen Smokin Aces that the cracks begin to appear significantly. Granted, some of the depth pays off but it is largely superfluous and grows to be very strung out as the film reaches the climax. If he had just left the film as it was with the outrageous and ridiculous abundance of fighting and bullet play, it might have been a bit more substantial. Instead, Smokin Aces reaches too high and shoots itself in the foot by attempting to be something more than it is. It is a ridiculous and wild film but that is what sells it well during most of it, only to be let down by a plot that gets way to convoluted for its own good. Anyhow, there is still enough bloodshed and flashy style to keep you watching Smokin Aces. A slashing and breakneck soundtrack accompanies the film to a successful degree of pulse-pounding violence and brutality.

With any film that boasts an ensemble cast, you are going to get people who stand out more than others. Smokin Aces is no exception to that rule, with some giving it their all as a rogues gallery and others left with only small and nondescript parts. Jeremy Piven plays the part of Buddy, who the whole plot centres on as he is the one who everyone wants to either kill or harm. Piven sells the part pretty effectively; displaying the drugged-up and altogether pathetic man who wanted to play gangster but whose obnoxious attitude and poor decisions led to him turning snitch. The character isn’t really likable, but Piven gives it his best to invest something into him. Two of the best roles in the film belong to Ray Liotta and Ryan Reynolds, with Liotta quite good as the seasoned and professional agent. Ryan Reynolds in particular stood out to me as the straight arrow agent learning of betrayal and his performance was pretty spot on in displaying a mature and sombre change in character. Singer Alicia Keys, in her first movie role, sizzles as the sexy part of a two woman squad of deadly contract killers. With her low voice and sultry attitude, Keys displays a lot of potential as an actress here which is refreshing as most singers who attempt acting fail. Backing her up is the feisty personality of Taraji. P Henson as the outspoken but highly skilled shooter. Tommy Flanagan bristles with uneasy menace as a master of disguise, but Nestor Carbonell is sadly underused as the creepy torture guy.

Stealing most of Smokin Aces however is the trio consisting of Chris Pine, Kevin Durand and Maury Sterling portraying the absolutely off-the-wall Tremor Brothers. They liven up the already bouncing movie with crazy antics and nasty glee, chewing their parts to bits as they wipe out hundred with there precious and strange artillery.  Trust me, these guys are just some of the craziest things you will witness in a movie chock full of perversity and what the hell trips. Andy Garcia, who is for me a lot of the time very reliable, is given scant to do which is a definite shame as he could have really been a force of nature.Rapper Common is well employed as Buddy’s bodyguard, who sees that he has been lied to by his employer as part of his pardon agreement. Ben Affleck appears in what amounts to a limited part, but when he is there I liked the cynical attitude of him. The other two men who feature in his part of the story, Peter Berg and Martin Henderson are unfortunately stranded without a lifeline. Far more successful in a small part is Jason Bateman, who in two scenes owns it as the disheveled and uncouth attorney involved in Buddy’s case.

I have been left with somewhat mixed thoughts about Smokin Aces. While I like the outrageous nature and blood-soaked action, I didn’t take too kindly to the fact that it tried to be something more thoughtful. Action movies by definition are ones that you switch the brain off for. Though I did lean more towards the enjoyment factor in this balls out action venture, despite my grievances.

The Edge

Tags

1990's, Action, Adventure, Alec Baldwin, Anthony Hopkins, Elle MacPherson, Harold Perrineau, Lee Tamahori, The Edge, Thriller

Film Title

The Edge

Director

Lee Tamahori

Starring

• Anthony Hopkins as Charles Morse
• Alec Baldwin as Bob Green
• Harold Perrineau as Stephen
• Elle MacPherson as Mickey Morse

An exciting adventure thriller that wisely eschews the desire to be just about non-stop action, The Edge keeps interest throughout thanks to a cool script and good acting from the leads of Anthony Hopkins and Alec Baldwin. It isn’t the kind of film that is going to garner awards, but it is still entertaining and has some welcome changes to what we have come to expect.

Billionaire Charles Morse accompanies his much younger model wife Mickey on a photo expedition to Alaska. Also along for the shoot is fashion photographer Bob Green. Charles is a quiet and introspective man who reads a lot and has a very good memory. Lately, he has come to believe that his beautiful wife may be straying with the slightly arrogant Bob. He can’t prove this, but it does bother him. So when Bob wants to employ the services of a local man and persuades Charles to come with him and his assistant Stephen, it seems strange that he should go. Though edgy as he suspects Bob of coveting his wife, Charles goes along anyway, if anything it seems to confirm suspicion. Yet when they can’t find the man, they search around for him among the huge wilderness. This is cut short as the plane crashes into the wilderness, killing the pilot. Stranded in the middle of nowhere, the three men make a stab at returning to safety, which is thwarted by death traps and power of nature. Soon enough, unprepared Stephen is killed by an enormous bear that is stalking them. Left now are Charles and Bob, whose differences are vast and opinions of the other are far from glowing. Thankfully, Charles has an excellent memory and having read about the wild, puts his knowledge to good use as he and Bob journey for what could be safety. Over time and worn down by the surroundings, Bob warms to Charles a lot more and the two begin to share a slow but slightly uneasy kinship. Yet the seeds of doubt are still present and could break apart the fight for survival and return to civilisation. And there is also the rather large and savage bear on their tail that refuses to rest until the two men become its next meal. Hacking through dangerous terrain and braving the extreme elements, Charles and Bob must find a way to finally overcome animosity to work together. Yet can their differences and grudges thaw in order for them to pursue survival in a dangerous climate?

I’m not the biggest fan of director Lee Tamahori. His later efforts following this film, mainly Along Came a Spider and Die Another Day, leave a lot to be desired. But I have to say that his direction here was actually atypically skillful and took me by complete surprise. If only he continued to direct like he does here, he could be a credible director. Stunning and accomplished camerawork makes the wilderness locations eye-catching in beauty and amount of scope it conjures up. It also successfully suggests the enormity of the two men’s plight as they are often shown small a against the trees and mountains they journey through. One of the best areas within The Edge is the screenplay from David Mamet, that is punchy and fresh. It takes a rather simple set up and embellishes it with wit and depth, both of which are rather lacking in many other adventure action films. It is most successful in the characters of Charles and Bob, who while they seem to develop something of a respect for each other, still have an underlying feeling of tension to them. And The Edge while witty and dramatic, doesn’t leave the action by the wayside. Far from that, it has some amazing action scenes, particularly the bear attack sequences, that act in accordance with character development and for the most part hold up in a taut way. I was very impressed and surprised by how well the film came together. Though The Edge is far from flawless; the main issue is that it’s rather overlong and stretches things a bit too much. Though with that being my only niggle, it is safe to say that The Edge is a film I genuinely found myself thrilled by. A mood enhancing score does wonders, while offering glimmers of hope for the stranded men.

It is the cast of The Edge that elevates what could have been a routine exercise. Anthony Hopkins is his intelligent and memorable best here, peppering his role with an unassuming demeanor and splashes of humour. The role of Charles is one where knowledge provides power and endurance is something he gains from his harrowing experiences. And it must be stated that Anthony Hopkins, being the professional he is, contributes a very good performance to The Edge that provides it with substance. Alec Baldwin similarly impressed me with an unexpectedly vulnerable turn as the shallow but cracking Bob. Vulnerability is not normally a word I would associate with Alex Baldwin, but he pulls it off admirably and his chemistry with Anthony Hopkins is what keeps the film ticking over. Because the main basis of the film surrounds Hopkins and Baldwin, the supporting players are not given much to do that is memorable. Harold Perrineau is good in his relatively small part of the doomed Stephen, but his character is merely a plot device. The same goes for Elle MacPherson who plays the model wife of Anthony Hopkins. She is beautiful that is true, but her part is pretty thankless.

An unexpectedly well done action thriller that has refreshing character development and some fantastic dialogue, The Edge is definitely underrated stuff that while far from perfect, knows the balance between action and drama and can supply both effectively.

Twister

Tags

1990's, Action, Adventure, Bill Paxton, Cary Elwes, Disaster Film, Helen Hunt, Jami Gertz, Jan de Bont, Philip Seymour Hoffman, Twister

Film Title

Twister

Director

Jan de Bont

Starring

• Bill Paxton as Bill Harding
• Helen Hunt as Jo Harding
• Jami Gertz as Melissa Reeves
• Cary Elwes as Dr. Jonas Miller
• Philip Seymour Hoffman as Dusty

A tense, special effects laden disaster flick, Twister is big on the thrills that never let up and make it an extremely entertaining wild and windy flick. Simple in plot and characterizations it may be, but no one is going to watch this film for outstanding characters so just surrender to the white knuckle ride.

Bill Harding is a former storm chaser and weather researcher who has decided to settle down as he plans to marry his girlfriend Melissa and has recently become a television weather man. The problem is Bill’s estranged wife Jo(herself a meteorologist and fellow storm chaser) hasn’t signed the divorce papers yet after they separated some time before. Travelling with Melissa, he seeks out Jo, who is with a group of scientists in Oklahoma. The exceedingly driven Jo has managed to perfect a series of devices by the name of DOROTHY, which Bill had worked on when they were together. The devices function by releasing thousands of sensors into a tornado and getting important information( the catch being that you have to be very close to a tornado to enable it). With this knowledge they could glean from the device, they may be able to help create a more advanced storm warning system, resulting in less damage if people are informed much earlier. Yet his timing is just as a series of very destructive tornadoes are headed their way which Jo plans to tackle so that she can put the creation to good use. Soon, Bill’s wild desire to be a storm chaser again returns and he joins Jo on her mission to execute DOROTHY, much to the opposition of Melissa. The group also has to contend with and race against Dr. Jonas Miller, a slimy guy who ripped off their ideas and has created a similar device, though he’s had all the corporate sponsors and funding and is only in it for the money. Yet with each tornado becoming more destructive than the last, just how far are Jo and Bill willing to venture in the name of both science and adventure?

Jan de Bont is an exceptional director of action and his skill set can be viewed in various exciting ways during Twister. Utilizing swirling cameras and a lightning pace, de Bont never stops for breath once the tornadoes getting going. We are quite literally thrust into the terrifying but exhilarating path of the destructive tornadoes and what a blast it is. Through the use of special effects that still hold up remarkably well, the spectacle of each intense twister is marvellously executed. Standout scenes abound, especially the big finale tornado that finds Jo and Bill ducking for cover in a barn as it is ripped from around them until there’s nothing left. As I previously stated, character development and seriousness is not the order of the day here. Yet this doesn’t do detriment to Twister’s impact as it never sets up to be character driven or literate, instead opting for an extravaganza of action and danger. Sound design and effects are equally as excellent when it comes to simulating the intensity of Mother Nature and the destructive forces she can conjure up on an unsuspecting people. By far the biggest stars of this film are the tornadoes themselves, as they make for very memorable visions of destruction and terror. A rousing musical score from Mark Mancina mixed in with rock songs from Van Halen is very effective and furthers the feeling of action and tension that the team encounters along the dangerous journey.

While the characters are somewhat thinly drawn, the cast is mostly impressive. Playing the estranged couple and fellow storm chasers, Bill Paxton and Helen Hunt are very good; bringing out more character than was probably written on the page. Both get across the collective desires and obsession to put their device into use and how these aspirations are what leads them both into the harmful path of near death in the cross-hairs of oncoming storms. A weak spot in the generally good acting is Jami Gertz as Bill’s terrified and annoying fiancée. She is only required in the film to berate and shriek as loud as she can and the sole purpose of her is so that Bill will visit Jo. Cary Elwes does the slime ball shtick very well as the villainous opposition who wants to use the storms as a way to make money. The rest of the science team have roles that generally all blend together, which lets the excellent Philip Seymour Hoffman stand out as the hyperactive Dusty, who lives for the thrill like no other.

So while character development is clearly on the back burner, Twister is all about the danger and destruction and in both aspects it succeeds with sensational results. Don’t look for any logic here, just sit back, fetch some popcorn and enjoy this roller coaster of a film.