Vertical Limit

Tags

2000's, Action, Alexander Siddig, Ben Mendelsohn, Bill Paxton, Chris O'Donnell, Izabella Scorupco, Martin Campbell, Nicholas Lea, Robin Tunney, Scott Glenn, Steve Le Marquand, Thriller, Vertical Limit

A tense action thriller that’s not in any way groundbreaking or original, Vertical Limit gets by on immense adrenaline and a competent cast. It’s a B movie to be sure, but a very good one.

Peter(Chris O’Donnell) and Annie Garrett(Robin Tunney) are avid climbers who frequently engage in this hobby with their father. But one day while climbing Monument Valley, disaster strikes. Two falling amateur climbers cause the line holding the family to become precarious. The father instructs Peter to cut the rope to save his children, which Peter does and in turn his father falls to his death. The act saves Peter and Annie but does immense damage to their relationship. Three years later, Peter has given up climbing and turned his attentions to wildlife photography, while Annie has become a prominent celebrated climber. The two meet once more at the base of K2, which at its peak is the second largest following Everest. The relationship is still damaged between the two and though Peter wants Annie to speak to him again, she can’t bring herself too. She is there to take part in an expedition up the mountain with billionaire Elliott Vaughn(Bill Paxton). For Annie, it’s a chance to carry on her father’s love of climbing mountains, but for arrogant Vaughn, it’s all part of a publicity stunt. Joining them will be experienced climber and level headed guy Tom McLaren(Nicholas Lea), and two other climbers . The group is warned by mysterious climber and legend Montgomery Wick(Scott Glenn) that the weather isn’t forgiving and can turn in an instant, but no one pays much attention. Peter is also worried but can’t communicate with his stubborn sister. So the climb goes ahead, even though there is a chance that extreme weather could hit. Sure enough the elements are against Annie, Vaughn and Tom as Mother Nature hits with a vengeance, causing an avalanche. In the ensuing chaos following the deaths of the two others on the trip, Annie, Vaughn and Tom find themselves trapped in a crevasse that slowly seals, leaving them injured and nearly cut off from any form of rescue. Thankfully, Annie knows morse code as does Peter and manages to briefly contact each other, but it’s not as simple as just finding the place of rescue in a mountain thats unforgiving. The mountain is expansive and dangerous and the group slowly start to feel the effects of the cold and biting sting of dwindling supplies exasperated by the growing tension between the trio. Peter, despite the estrangement from his sister, plots a rescue that will be both daring and extremely harrowing if he wants to save his sister. He enlists the help of gorgeous touch cookie Monique(Izabella Scorupco)who wants a share of money for a new life being offered by the company, brothers and climbing enthusiasts Malcolm and Cyril (Ben Mendelsohn and Steve Le Marquand) and Kareem(Alexander Siddig), whose cousin was one of the ill-fated members of team that ventured up the mountain. The nomadic Wick joins them as he is an expert on the treacherous ascent, though we learn he has another agenda for going up K2. The group have canisters of nitroglycerine in their bags donated by the nearby Pakistan Army, which are incredibly dangerous but will hopefully if used correctly. The clock is on for Peter to rescue his sister and the team with not a second to lose.

Martin Campbell is no stranger to action thrillers having directed Bond flicks GoldenEye and Casino Royale. And his talents in these areas serve him well in Vertical Limit as he cranks up the action and suspense to high degrees. He isn’t going for some intellectual exercise and knows thats not what the audience is craving either. This understanding aids Vertical Limit as a film of action and spectacle for the popcorn crowd where you don’t really have to do a lot of thinking but you sure as hell enjoy it. Granted there are some quite moving moments that you might not expect in such a film, but it’s the sheer adrenaline and energy of the film as the clock ticks away that make it credible. The visuals are pretty on point; capturing the beauty and precariousness of mountains amidst the breaks from action. It’s truly a sight to behold these natural wonders that are enticing but also death-defying in the extreme. Vertical Limit may run on a bit long for my liking with two hours pushing it, but I enjoyed the vast majority of the movie. It piles on the scenes of near death and action in quick succession which actually benefits the film, even when it is fit to burst. James Newton Howard provides an action packed score, focusing mainly on strings and drums for added oomph in the perilous journey on the mountain.

Though the characters are essentially cliched and pretty overfamiliar, a credible cast fills them out nicely. Chris O’Donnell, while not being the most convincing actor there has ever been, is decent enough as the central hero of the piece. He’s passable as the rescuer with baggage and is credible in the action scenes it must be said. Robin Tunney brings out strength and vulnerability as the trapped sister; trying to make smart decisions as she succumbs to the impact of cold weather and being trapped. Tunney makes her character’s suffering and bubbling resolve feel at least genuine whenever she is on screen which goes a long way for me. Bill Paxton and Scott Glenn are however the standouts here as men with shared history and not all of it good. Paxton exudes an underhand sliminess and selfishness that makes you thoroughly despise the character and is a credit to his skill as an actor. Glenn, with a face that is bound to install fear and a little admiration, projects a gruff exterior as the mountain expert with his own personal reasons for scaling K2 and a particular axe to grind. Both actors are very good in their respective roles and I enjoyed seeing both men on either side of morality occasionally blur those lines. Nicholas Lea, taking a break from playing the underhand traitor on The X-Files, seems quite glad to be portraying someone who is actually good at heart but no pushover in the least, even when mortally injured. The beautiful Izabella Scorupco has the right blend of sex appeal and grit to make her quite memorable, while Ben Mendelsohn and Steve Le Marquand offer comic relief in between the nail biting action and terror, with both convincing as stoner brothers in need of that rush of adventure.Rounding things off is Alexander Siddig, whose quite and calming presence is a welcome respite among the chaotic happenings.

So while no Oscars or awards for genre defining content will be awarded to Vertical Limit, it’s action and suspense keep you invested and man if it isn’t a thrilling ride.

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,

Raiders of the Lost Ark

Tags

1980's, Action, Adventure, Alfred Molina, Denholm Elliott, Harrison Ford, John Rhys-Davies, Karen Allen, Paul Freeman, Raiders of the Lost Ark, Ronald Lacey, Steven Spielberg

Action/ adventure was given a new lease of life in Steven Spielberg’s Raiders of the Lost Ark ; a rollicking, entertaining tribute to old adventure serials with a classic turn by Harrison Ford and all the right ingredients for an energetic blockbuster. Raiders of the Lost Ark is truly one of those iconic films that never gets boring no matter how many times you’ve seen it. Trust me, this movie is simply irresistible.

The year is 1936 and rugged Indiana Jones(Harrison Ford), often refereed to as Dr. Jones or Indy, is an archaeologist/adventurer with a dry sense of humour, skill with a whip, fear of snakes and ability to think quickly on his feet. He works as a college professor when he’s not facing immense danger around the globe. We first meet him in the jungles of South America where he procures an artefact, faces down danger and meets his slimy rival René Belloq( Paul Freeman), who always seems to be one step ahead of him. Back at the university he teaches at, his friend Marcus Brody(Denholm Elliott) a museum creator approaches Jones with two American agents. As Indy has knowledge of ancient relics and cultures the U.S government wants his help in dealing with the growing power of the Nazis. It’s come to their attention that the Nazis are fixed on discovering the burial place of The Ark of Covenant; an ancient and innumerable chest that according to the Bible held the two stone tablets bearing The Ten Commandments. Also housed in it is immeasurable power that the Nazis wish to harness to further advance their cause. Jones worked with Abner Ravenwood, his old mentor and had a relationship with his daughter Marion(Karen Allen). Travelling to Nepal, he meets the tough talking Marion once more and learns her father is dead. She is now in possession of a headpiece that when used properly shows the whereabouts of the Ark. She isn’t too pleased to see Indy as he romanced her and then disappeared, which leaves him with a hell of a punch across the face on their reconnection. The fact that Marion has the key to discovering the Ark puts her in the firing line for trouble. This in turns leads the Nazis to her door, headed by the very creepy and sadistic Gestapo agent Arnold Toht(Ronald Lacey). Escaping and discovering the Nazi’s, along with Belloq are digging in Cairo, Indiana and Marion head there intent on stopping them. With aid from loyal digger Sallah( John Rhys-Davies), it’s up to Indy and Marion to stop the Ark falling into Nazi hands and being wielded as a devastating weapon on the world. 

Steven Spielberg directs this action adventure classic with panache, wit and a rip-roaring sense of entertainment and it ranks as one of his best films. You can clearly see the love and feeling of breathless action he infused Raiders with to make it so rightfully iconic. His infectious enthusiasm to recreate 30’s adventure serials transfers to the audience who are swept along with Indiana Jones in his quest to retrieve the eponymous artefact from the clutches of evil. Raiders of the Lost Ark bristles with excitement right from the celebrated opening and continues on with breathless action that also houses great characters and many instances that have become synonymous with pop culture. You’ve got that opening with Indy retrieving a golden idol from a cave that’s laced with booby traps( including one menacing boulder), a journey into the resting place of the Ark which is littered with snakes, Indy hilariously shooting a show off swordsman in a nonchalant manner, a scintillating truck chase sequence that puts the A in action and the unveiling of the Ark itself. It’s hard to just talk about one moment but I’ll do my best. The cinematography has a warm glow of yesteryear and just adds further to this exciting and escapist adventure that never leaves you. The visual effects still hold up and make the finale a sight to behold in both wonderment and shock. And one of the finest and most fondly remembered parts of this movie has to be the score from the maestro that is John Williams. I’ve long been a fan of his work and his score here is one of the reasons why. I mean you only need to hear a few notes of the now famous theme to feel chills on your neck and know you’re listening to greatness that embodies adventure, danger and just that giddy feeling of something magic at work.

Essaying the role of Indiana Jones is the incomparable Harrison Ford. He’s got the humour down, the intrepid feeling of adventure, plus charm and smarts to burn. Ford is compelling and it’s pretty damn impossible to imagine anyone else playing the part because he makes it his own with star quality, wit and a certain level of old school, heroic cool. It’s hard not to warm to Indiana Jones with Harrison Ford in such fine form and creating one of the most recognisable heroes of the silver screen. Aiding him is the beautiful but strong presence of Karen Allen. She portrays Marion as feisty and not afraid to rough and tumble; thankfully she has more to do that just a be a love interest. Not that her chemistry with Ford isn’t impressive( it’s extremely good), but it’s great to see that she serves a purpose here and can take charge when needed. A slimy turn from Paul Freeman makes Belloq a cultured yet rotten to the core adversary for Indy, while is creepiness personified as the Nazi agent with the most unnerving demeanour. Humour and a certain lovable nature comes courtesy of John Rhys-Davies, making the most out of his supporting role as loyal friend. The refined Denholm Elliott also stands out in a small role with his well spoken air and sense of a gentleman. Watch out for a young Alfred Molina in the opening scene as a treacherous tour guide who meets a grisly end after showing his true, deceitful colours. 

With compelling action, imagination, fine acting and a masterful director at the helm, Raiders of the Lost Ark is one of the most rip-roaring pieces of adventure entertainment you’re likely to see and trust me, you’ll never tire of it.

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.

Action Series Chosen

Tags

Action

Thanks to everyone who voted in my poll about which action series I should cover. The winner was The Fast and the Furious Series, so I’ll review them soon.

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.

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.