White Squall

Tags

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

Film Title

White Squall

Director

Ridley Scott

Starring

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

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

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

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

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

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

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.

The Jungle Book

Tags

2010's, Adventure, Ben Kingsley, Bill Murray, Christopher Walken, Giancarlo Esposito, Idris Elba, Jon Favreau, Lupita Nyong'o, Neel Sethi, Scarlett Johansson, The Jungle Book

Film Title

The Jungle Book

Director

Jon Favreau

Starring

• Neel Sethi as Mowgli
• Ben Kingsley as Bagheera
• Bill Murray as Baloo
• Idris Elba as Shere Khan
• Lupita Nyong’o as Raksha
• Giancarlo Esposito as Akela
• Scarlett Johansson as Kaa
• Christopher Walken as King Louie

When I was first informed that they were doing another version of The Jungle Book, combining live action with CGI, I’ll admit to being a bit skeptical over how successful it would turn out. I’m happy to report however that this interpretation from Disney is a triumph in almost every department, while adding some new touches to the adventure tale. Trust me, you’ll be blown away by this version of the beloved story.

Mowgli is an orphaned man cub, who is raised by a pack of wolves deep in the Indian jungle. He was brought there by the panther Bagheera, who watches out for the young and wild boy. While the wolves treat him as family, the leader of the pack Akela, disapproves of the boy using tricks considered human and wants him to be more like a wolf. Raksha, a female wolf acts as a strong mother figure for Mowgli and considers him her son. Yet as Mowgli grows older, the threats to him become more pronounced. The main one is the reappearance of the evil tiger Shere Khan, who strikes fear in the heart of all the other animals. Having been burned by humans in the past, Shere Khan has a deep hatred for man and seeing Mowgli vows to kill him. Fearing for the safety of young Mowgli, Akela has Bagheera take him back to a man village where it is hoped he will be safe from Shere Khan. Mowgli doesn’t want to leave, but sees that the danger posed to him is great. Yet getting to that village is no easy task as Mowgli and Bagheera become separated and he must fend for himself. Thankfully he encounters Baloo, a lazy but lovable bear who he quickly forms a bond with. Yet there is peril to be found in the jungle in many forms and with Shere Khan attempting to draw him out, it comes down to Mowgli to discover where his place in life is.

Jon Favreau directs with a sure hand, crafting The Jungle Book as an entertaining yet heartfelt production of massive scope. The CGI is quite simply breathtaking and awe-inspiring, worthy of every ounce of praise that has been aimed at it. Nary a frame of The Jungle Book is wasted due to the precision of the direction and the sheer majesty of everything going on. Everything in this Disney production looks so life-like, you could almost touch it and taste it with your senses in every shot. The jungle comes alive on the screen, resplendent with dangers and adventures for young Mowgli, as well as the audience too.  In a different move, the darkness quota is significantly raised like never before. This gives The Jungle Book that something else that balances being a fun adventure with some genuine moments of danger. Moments that signify this shift are plentiful; from the large snake Kaa revealing the past of Mowgli while reeling him in to a large and menacing Orangutan-resembling ape King Louie, who wishes to harness the power of fire. And the biggest one is having Shere Khan as a ferocious beast who was scarred by man and looks frightening from the very moment he appears. I must say this new direction of making things darker really impressed me because it infuses the film with probably the darkest presentation of the source material yet doesn’t forget the atmosphere of fun that children and adults alike can enjoy. The coming of age elements are brought out with deeply riveting and soulful results as Mowgli attempts to find his place. An excellent music score highlights the thrilling adventures and soul of The Jungle Book. It was also a blast hearing some of the songs from the 1967 animated version, but done in other ways to distinguish it and not make the film a remake.

Newcomer Neel Sethi, as the only physical performer in the film, is naturally convincing as the curious and rebellious Mowgli. Considering that he would have been acting against nothing, he marvellously conveys a big load of emotions and reactions that never ring false for a second. The voice cast for the animals that inhabit the jungle are expertly employed and add their own inflections to their parts. I have always found Ben Kingsley as an actor to have something of a stately presence and this feeling of authority is reflected in his voicing of Bagheera, which emanates with wisdom and firmness. The amusing and always joyful Bill Murray is inspired as the honey-guzzling Baloo, who provides the comic moments of the film with a dash of classic Murray sarcasm. A real standout among the voices is Idris Elba as the evil Shere Khan. His booming, resonant voice utilized to maximum effect that makes the creature genuinely scary and filled with rage. Reverberating whenever he shows us, Elba’s voice is a clear winner. The assured and nurturing inflections from Lupita Nyong’o as the motherly Raksha pull out the emotional centre of the story and go a long way to creating moving results. Giancarlo Esposito has the required feelings of strength and leadership in voicing the head wolf of Akela, while the seductive voice of Scarlett Johansson colours the segment with her as Kaa the snake with a hypnotic impact. Christopher Walken’s distinctive voice is put to excellent use as the gigantic King Louie, with him sounding like something of a dodgy deal maker in the gangster mode and a menacing force. As strange as that combination sounds, it works wonderfully for this creation.

Imaginative, lushly directed and filled with something for everyone, The Jungle Book is a wonderful film in every way. Whether it’s the visuals, cast or the story, every department pulls tether to breathe fresh life into the well-known story and put a new stamp on it. I can’t think of a movie of late that has left me so thrilled and excited to talk about.

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.

Anaconda

Tags

1990's, Adventure, Anaconda, Eric Stoltz, Horror, Ice Cube, Jennifer Lopez, Jon Voight, Jonathan Hyde, Kari Wuhrer, Luis Llosa, Owen Wilson, Vincent Castellanos

Film Title

Anaconda

Director

Luis Llosa

Starring

• Jennifer Lopez as Terri Flores
• Ice Cube as Danny Rich
• Jon Voight as Paul Serone
• Eric Stoltz as Dr. Steven Cale
• Jonathan Hyde as Warren Westridge
• Owen Wilson as Gary Dixon
• Kari Wuhrer as Denise Kalberg
• Vincent Castellanos as Mateo

A gleefully nasty and exciting horror/adventure, Anaconda isn’t going to win any prizes for superlative film making or emotive writing. But that isn’t what the film is all about, it’s about surrendering to the gloriously tongue in cheek horror and on that score it registers at a high rating.

Terri Flores is a director of documentaries who thinks she’s nearing a big break. Her latest expedition is down the Amazon River to find proof that a legendary Indian tribe known as The People of the Mist has not vanished and is far from forgotten. Joining her on a boat down the river as part of her film crew is her anthropologist love interest Dr. Steven Cale, good friend and cameraman Danny Rich, the snobby English narrator Warren Westridge, sound engineer Gary, his production manager girlfriend and Mateo, the captain of the boat. Along the way in their journey, they pick up Paul Serone, a mysterious Paraguayan man who is stranded on the embankment and makes his living capturing snakes. He claims to have knowledge over where the fabled tribe is and travels with them down a new route to where he says they reside. Serone manages to put everyone on edge with his unusual ways and slimy appearance, most of all Cale who catches him out on a number of lies. Yet before he can act upon these suspicions, he is stung by a wasp that gets caught in his swimming gear when he’s sorting out something under the boat and as a result, he is rendered unconscious. The odious and crazed Serone takes charge of the boat and his true diabolical motives are quickly revealed to all. He is forcefully using the crew as bait so he can hunt the famed and very dangerous 40-foot anaconda. And sure enough, the giant snake is soon on the attack, crushing anyone in its way before swallowing them whole as its next meal. As Serone slips further into psychosis in his hopes of capturing the predator, it’s up to Terri and the others to fight against the giant snake as it picks through the crew very quickly, leaving a blood soaked carnage in its wake.

Luis Llosa’s direction is efficient and while nothing particularly special, still retains a feeling of suspense and adventure. Llosa understands that the material within Anaconda is not meant to be taken seriously and he acquits himself well in this respect, while still giving some good gross out scares and disquieting deaths. A misty visual style, capturing the Amazon Rain forest setting and its dangerous splendour as well as frenetic camerawork helps the film go at a quick pace that keeps chills and dark laughs coming thick and fast. Chief among these moments is the creepy shot of the approaching anaconda slowly digesting a victim that we can see the impression of the terrified face and an attack scene of the snake snatching one of the crew as they jump from a waterfall. It must be said that the script is rather simple and dialogue nothing revelatory in terms of character development, but with so many thrills going on, does it really matter? Now it must be said that the main antagonist of the film the killer anaconda is something people are divided on when it comes to the film. The creature is rendered through both animatronics and CGI, and it must be said that the execution is more than a bit hokey. If they’d gotten rid of the CGI it could have been more memorable, but when the animatronics is on show, as ropy and often laughable as it is, it adds a B-movie quality to this already slightly goofy film. While Anaconda is an exercise in tongue in cheek horror, it doesn’t scrimp on the suspense and scares, brought out through a very good score that heavily features drums growing quicker as the giant snake makes its presence known in a very threatening way.

Jennifer Lopez makes for a grounded and very tough lead in the film, doing battle as much with her smarts as her fists. She works well alongside Ice Cube, who plays the smart ass and sarcastic cameraman Danny. Jon Voight turns in a performance of extravagant hamminess as the utterly maniacal Serone, who has no qualms about using his rescuers as potential food for the eponymous snake. Sporting a shifty ponytail and dodgy attempt at a Paraguayan accent, Voight’s performance sails over these questionable aspects with evil glee and serviceable menace that is just right for this kind of movie. And he really knows how to turn on the slimy factor and lather it up to levels of psychopathic overdrive. Eric Stoltz has something of a heroic nature about him in the beginning but when his character is incapacitated, he is is required to do very little. There is also of note an amusing Jonathan Hyde as the pompous actor clearly out of his depth when it comes to survival because of his fussy ways. The rest of the cast, consisting of Owen Wilson, Kari Wuhrer and Vincent Castellanos are purely in the film to be snake bait for the ferocious anaconda.

A somewhat daft but very exciting and thrilling horror, Anaconda if seen in the right way is as a slithering creature feature in a B-movie style makes for a good way to kill an hour or so and doesn’t require nary a speck of brain power.

Boy on a Dolphin

Tags

1950's, Adventure, Alan Ladd, Boy on a Dolphin, Clifton Webb, Jean Negulesco, Jorge Mistral, Sophia Loren

Film Title

Boy on a Dolphin

Director

Jean Negulesco

Starring

• Sophia Loren as Phaedra
• Alan Ladd as Dr. James Calder
• Clifton Webb as Victor Parmalee
• Jorge Mistral as Rhif

An imperfect adventure yarn that is sometimes packed with fun and at other times slow-moving in the extreme, Boy on a Dolphin gains agreeable points from the stirring music, luscious location work of Greece and a gorgeous Sophia Loren.

In Greece, the beautiful but poor Phaedra is a sponge diver who lives in a ramshackle windmill with her kid brother and lousy boyfriend Rhif, who is something of a lay about who promises they’ll be fine all the time but never seems to do a lot to help. For the spirited Phaedra, she just goes by each day attempting to provide for herself and those closest in any way she can. Then one day while diving off the island of Hydra, she discovers a dazzling statue of gold, depicting a boy riding a dolphin. The statue is situated at the bottom of the Aegean Sea and is thousands of years old, having been on a ship that crashed during a stormy voyage. For Phaedra, her accidental unearthing of the treasure gives her cause to use it to finally gather some money and not have her worries. Along with Rhif, she takes it to many people who could sell the statue, but two stand out the most. The two are the honest and hardworking Dr. James Calder, who works an archaeologist and the deceptive and slimy collector Victor Parmalee. Both men express interest in Phaedra’s find but for differing reasons; Calder wants the statue to put in a museum in Greece, whole Parmalee wants all the glory and money that will go with the discovery. Into this power struggle comes Phaedra, who can’t decide whether she wants the allure of money or genuine love, as she develops feelings for Calder. A race to discover the statue of the title ensues between Calder and Parmalee, that becomes ever more difficult due to Phaedra being in the middle of it all and having to choose where her loyalties lie.

On the whole, Boy on the Dolphin is a somewhat messy exercise but nonetheless has enjoyable moments and things to praise. The main problem rests with the script and the pacing which go from being exciting to dull over the course of the film. The script has the sense of adventure right, but in the parts in between, some of the material is a little superfluous and could have been cut. The same goes for the pacing that needs a fixer upper on occasion as it lurches between two extremes. Yet once the pace picks up and the cat and mouse game between the two men entangled with Phaedra commences, a good adventure yarn emerges from the flawed premise. Also on the positive side, Jean Negulesco at least makes the film stunningly shot and keeps us engaged through showing us the sheer beauty of Greece. Basked in glorious sunshine and filled with some gorgeous underwater scenes, Boy on a Dolphin stays afloat when it comes to the visual front. And the score provides the perfect romantic and dreamy backdrop of the piece with a lilting wind section and trembling guitar. There is also a sublime song that covers the aquatic opening titles that is filled with romance, intrigue and temptation.

Although her role, which was her first in the English language, doesn’t require much in the way of stretching acting muscles, the beautiful Sophia Loren makes a stunning impression with earthy sex appeal, volatility and feisty demeanor. Soaring above the flawed writing, Loren makes sultry and determined, bringing much more to the character than the script asked for. And I can’t review this film without mentioning Loren’s dazzling entrance into it. Pulling herself out of the sea after one of her many dives for sponges, she climbs onto a boat, clad in a flimsy, orange dress that accentuates her breathtaking beauty and curvaceous figure. It’s a sexy entrance for one of cinema’s most gorgeous stars. While I do think that Alan Ladd is a good actor, his role of archaeologist Calder is not his best and Ladd appears seemingly indifferent to the character. He’s not all bad here showing moments of good, but he appears to be more than a little stiff in the part. Clifton Webb fares much better at playing the oily Parmalee, who is unscrupulous and used to getting what he wants. He adds a good dose of underlying nastiness to the role that is hard to miss. Jorge Mistral does his best at making Rhif a louse who is more of a hindrance to Phaedra than a helper.

A movie that veers between thrilling adventure and boring spectacle, Boy on a Dolphin still retains something of an enjoyable factor and features the sensual Sophia Loren announcing her star appeal.

The Riddle of the Sands

Tags

1970's, Adventure, Alan Badel, Jenny Agutter, Michael York, Simon MacCorkindale, Spy, The Riddle of the Sands, Thriller, Tony Maylam

Film Title

The Riddle of the Sands

Director

Tony Maylam

Starring

• Simon MacCorkindale as Arthur Davies
• Michael York as Charles Carruthers
• Jenny Agutter as Clara Dollmann
• Alan Badel as Dollmann

A ripping adventure/spy thriller, The Riddle of the Sands is delightfully old-fashioned and brimming with just the right amount of charm and excitement.

It is the very early years of the 20th Century and the adventurous Arthur Davies is on a boating holiday in the Frisian Islands. He comes into contact with a German man by the name of Dollmann, who seems very curious to know where he is going. Davies is more interested in his daughter Clara, who is sweet and wistful. Yet things take an unexpected turn for Davies when it appears that during a storm when he was trying to reach one of the islands, Dollmann tries to crash his boat into his. Wondering why this fatality nearly occurred, Davies writes to his old college friend Charles Carruthers, who works as a clerk for the Foreign Office, and asks him to join him. Carruthers himself has been bored so decides to join his friend. Initially, the cramped conditions on the boat are a bit much for the posh and privileged Carruthers to handle, but he eventually gets the hang of things. Both men become very curious about intentions of Dollmann for hiding the island, his inquisitive nature of their plans and what he could be planning himself. The smart Carruthers believes that is hiding something to do with the German fleet as he is always seen with officers. But as the duo do some more digging, what they uncover is something entirely different. They stumble onto a plot by Germany to invade Great Britain, with the help of boats that they can heavily disguise and passages in the sea that aren’t that well guarded to the east of England. Shocked by what they have unearthed both men know they must put a stop to the nefarious and dastardly plan. But can either of them foil it?

Right from the start, The Riddle of the Sands sets up a real sense of atmosphere and adventure that can’t be faulted. Director Tony Maylam keeps the pace remarkably engaging yet languid, taking in the scenery and uncovering that both Davies and Carruthers finds themselves coming across. Modern viewers may be surprised at how leisurely the film’s pace is done, and there are times when it meanders, but winning verve and old-fashioned enthusiasm make sure the movie isn’t swept away by it. I mean while The Riddle of the Sands is a thriller in one respect, it is just as much an adventure too which audiences should remember. And speaking of scenery and visuals, the hues of gold, brown and misty white compliments this adventure with danger and a lot of excitement. Whoever did the location work for this movie was a really talented person because all of the locations add something to the story and bring airs of mystery. A splendid score, filled with a repeating motif of intrigue, further compliments this treat of a movie.

The Riddle of the Sands contains a very well assembled cast. As the two dashing heroes of the narrative, Simon MacCorkindale and Michael York are brilliant. They have a natural way with one another and it is good to see them work together, even though the characters are at opposite ends of the spectrum. Davies is adventurous and eccentric, whereas Carruthers is disdainful and entitled. Both actors bring out these necessary characteristics to their roles and do it with charm and style. The duo emerge as both likable and amusing as their adventures takes them into something that never saw coming. Jenny Agutter is beautiful and innocent as the daughter of one of the men suspected of being involved in the elaborate invasion and who captures the attention of Davies. Alan Badel makes the most of his role as the mysterious Dollmann, who is heavily involved in the huge plan.

So despite some shortcomings in terms of the pace and a longer than required running time, The Riddle of the Sands is jolly good fun for everyone.

To Have and Have Not

Tags

1940's, Adventure, Hoagy Carmichael, Howard Hawks, Humphrey Bogart, Lauren Bacall, Marcel Dalio, Romance, Thriller, To Have and Have Not, Walter Brennan

Film Title

To Have and Have Not

Director

Howard Hawks

Starring

• Humphrey Bogart as Harry Morgan
• Lauren Bacall as Marie ‘Slim’ Browning
• Walter Brennan as Eddie
• Hoagy Carmichael as Cricket
• Marcel Dalio as Gerard

An exciting romantic adventure thriller from the Golden Age of Hollywood and loosely based on(but heavily rewritten here) the novel by Ernest Hemingway, To Have and Have Not still has a whole lot to enjoy within it. Chief among these is the excellent direction from the legendary Howard Hawks and the sizzling chemistry between Humphrey Bogart and a debuting Lauren Bacall, that would lead to sparks flying off the screen as well as on.

The year is 1940 and it is wartime. In the island of Martinique, which is now controlled by Vichy, cynical Harry Morgan is the owner of a fishing boat which he charters to tourists in return for money. Along with his right-hand man Eddie, a bumbling, alcohol-guzzling but genial man, Harry has no interest in politics or the tense situation that is occurring around him. That is until he is approached by Gerard who is one of the Free French and comes to him with a proposition. He asks that Harry help secretly transport two members of the French Resistance onto the island. In the beginning and thinking more of his own neck, Harry refuses to help because of the implications it could have. Yet while mulling it over, he encounters the sultry Marie Browning, who he refers to as Slim. An attractive traveler and pickpocket, Slim wants to return to America but doesn’t have the sufficient funds. Quickly attracted to the sensual young woman, tired of seeing people pushed around and in need of money himself after being owed a large sum, Harry accepts the offer of Gerard in helping the Resistance members get on the island. What follows is a dangerous adventure, tinged with romance and thrills as Harry knows that him being caught could end in very dire circumstances as the authorities on the island are investigating everywhere.

Iconic director Howard Hawks is at the peak of his powers here, directing To Have and Have Not with brilliant flourishes of excitement and tense adventure. The movie itself crosses genres, but with Hawks behind the camera, all the elements slip together nicely and compliment each other. He keeps your attention and there may be the odd lull here and there, but due to his sterling handling of the film, and in particular the undeniably sexy romance, To Have and Have Not is nothing short of a success. Which brings me on to the script that emphasizes the growing attraction between Slim and Harry and peppers it with memorable moments of sparky dialogue. Double entendres and sly innuendo form the core of their courtship and the chemistry between Bogart and Bacall is palpable from the very first moment they meet and Slim inquires “Anybody got a match?” It’s such a classy but sensual side that it adds to the film and not forgetting probably the most iconic scene in the movie. In it Slim seductively tells Harry( who she playfully refers to as Steve), that if he needs anything he just needs to whistle. This is followed by the classic line “You know how to whistle, don’t you Steve? You just put your lips together and blow”. And it’s not hard to see why the line has become so iconic, because of its playful sexual undertones and husky delivery. Even today with more sexually explicit movies about, the sizzling chemistry and passion between both the characters and the actors is still hot stuff. A suitably jazzy score has the right amount of adventure to it and features some wonderful songs too, sung with charm and deep-voiced sensuality by Lauren Bacall.

The talented cast is what really brings life and character to this already exceptional movie. Humphrey Bogart is excellent with his portrayal of the initially reluctant Harry, who is more concerned about himself in the beginning, but eventually joins the fight. Bogart invests Harry with a wise guy charm, tough strength and resourcefulness that you can’t imagine anyone else in the part. And in her movie debut, a 19-year-old Lauren Bacall announces herself as a major talent. With her large eyes, curled hair and husky voice, Bacall is a marvel to watch. Playing Slim with a smart but sensual core, she exudes star quality and threatens to set the screen a flame with her stunning presence. As previously mentioned, she has genuine sparks with Bogart that really add to the experience of the movie. Walter Brennan exhibits kind-hearted but none too bright antics as the character of frequent drinking partner Eddie, who is the main sidekick of Harry. Singer Hoagy Carmichael shows of his immense talent as the main man in the band of the hotel that Harry and Slim frequent. Marcel Dalio does a good job as a member of the Resistance who asks the cynical Harry for help thus drawing him into a dangerous plot.

Brimming with wit, romance and adventure of the highest, To Have and Have Not is a classic picture that is iconic for a lot of many excellent reasons.

 

 

Puss in Boots

Tags

2010's, Adventure, Amy Sedaris, Animated, Antonio Banderas, Billy Bob Thornton, Chris Miller, Comedy, Fantasy, Puss in Boots, Salma Hayek, Zach Galifianakis

Film Title

Puss in Boots

Director

Chris Miller

Voice Cast

• Antonio Banderas as Puss in Boots
• Salma Hayek as Kitty Softpaws
• Zach Galifianakis as Humpty Dumpty
• Billy Bob Thornton as Jack
• Amy Sedaris as Jill

An excellently animated and witty spin-off with the lovable rogue feline that proved so popular in the Shrek movies, Puss in Boots is proof that not all spin offs are a bad things. It becomes a bit bogged down at times when establishing some of the origins, but that doesn’t make it any less entertaining due to the mixing of humour, fantasy and animation.

Years before encountering Shrek, Puss is a fugitive who while being a bandit, has his own sense of code and honour. Travelling from place to place, he becomes aware of the mythical beans that lead to the clouds, promising a Golden Goose. The beans are currently in the possession of murderous outlaws Jack and Jill. Our smooth talking furry feline makes it his mission to recover them, but something gets in the way on his first attempt. A sleek and slinky feline by the name of Kitty Softpaws intervenes and distracts him in her own mission to get the magical beans. After giving chase, Puss discovers that Kitty is in fact in league with someone from his past. The person in question is the talking egg Humpty Dumpty. As children, him and Puss were like brothers, but Humpty out of spite and jealousy, betrayed Puss during a robbery that left Puss an outcast from his town. Initially reluctant to help Humpty in his quest to get the beans, Puss eventually comes around to the idea because of his quest to rebuild his reputation, but is still unsure of whether Humpty is plotting something. There’s no time to think though as he, along with the unusual Humpty and the gifted thief Kitty, are plunged into a full-on adventure of the highest order with excitement and twists along the way, closely linked with Jack and Jill who they must commandeer the beans off.

I will admit that I was skeptical at the idea of a Puss in Boots spin-off, because I often find spin-offs tend to be lesser than the films that they are originally linked too. So I was really surprised that Puss in Boots was in fact a very accomplished film. Chris Miller and his set of animators really gave it their all here, bringing verve and colour to the proceedings. From scene to scene, the lively animation brought life to the adventure and was spectacular. And while the visuals were a clear highlight, the various gags and send ups to western movies and pop culture was really amusing to watch. I’ve always been a fan of giving old fairy tales a makeover, and Puss in Boots does it with an abundance of heart and style. Now the main flaw I found with Puss in Boots was the overindulgence of flashbacks. I know they were meant to establish the origin story of Puss and many were good, it just felt a bit much. It could have been tightened a lot more in my view. Yet that is the only real thing I can pick at in the movie because it is immensely enjoyable and fresh. A Latin accented score is the perfect accompaniment to the rip-roaring and hysterical adventure that Puss finds himself dragged into.

Antonio Banderas with his thickly accented and suave voice is magnetic as the thieving feline on the adventure of a lifetime. Equal parts humour and pathos, Banderas uses his masterful vocal talent to give stunning life to the lovable Puss. Salma Hayek is an ideal choice for the voice of the slinky Kitty, who can match Puss with her fighting skill and thieving expertise. Hayek and Banderas, having worked together before, clearly have a good sense of camaraderie, chemistry and banter that feeds into the characters they voice here. Zach Galifianakis masterfully keeps us on edge with his contribution as Humpty, whose capricious changes in character are called into question. Is he leading Puss on or is he genuinely trying to reestablish a friendship again? That mystery is given life by the talented Galifianakis. As the revamped and very dangerous Jack and Jill, Billy Bob Thornton and Amy Sedaris display the right amount of villainy suited to the film with their long drawl.

Colourful, funny and with stellar animation, Puss in Boots emerges as a spin-off that is hugely charming and proves that when done right, these kinds of movies can work really well.

Lara Croft Tomb Raider: The Cradle of Life

Tags

2000's, Action, Adventure, Angelina Jolie, Christopher Barrie, Ciarán Hinds, Djimon Hounsou, Gerard Butler, Jan de Bont, Lara Croft Tomb Raider: The Cradle of Life, Noah Taylor

Film Title

Lara Croft Tomb Raider: The Cradle of Life

Director

Jan de Bont

Starring

• Angelina Jolie as Lara Croft
• Gerard Butler as Terry Sheridan
• Ciarán Hinds as Jonathan Reiss
• Christopher Barrie as Hillary
• Noah Taylor as Bryce
• Djimon Hounsou as Kosa

The Cradle of Life is a weak sequel to the first Lara Croft movie. While the first one may have not been flawless, it was still a hell of a ride and executed well. The same can’t be said of this film which feels dull and recycled to say the least. A few sequences are good and Jolie is amazing as ever, but this film is just a mess from the start.

Lara is uncovering what seems to be the Lunar Temple, which is underwater and because of an earthquake slightly risen in the sea odd Santorini. Unfortunately once she gets in, she is ambushed by warlords who take a mysterious orb from the temple before Lara can claim it. Lara manages to escape just barely as the ruins collapse behind her. Back at home following that opening adventure, she is researching the origins of the orb and what it could mean or in fact be. Through extensive research and her knowledge of mythology, she deduces that the orb is in fact a map that once deciphered can lead to the mythical Pandora’s Box, which resides in the hidden cradle of life and once opened will emit all the sorrows of the world and bring forth disease. Soon enough, MI6 comes around and tasks Lara with finding the orb before it falls into the wrong hands. The hands in question belong to a scientist turned bio-terrorist named Jonathan Reiss, who wants to make money of the discovery and spread destruction in his wake. Enlisting the help of disgraced former soldier Terry Sheridan because of his knowledge of the warlords she encountered, she infiltrates a crime syndicate in China that Reiss is using to transport the weapon. With danger around every turn of her globetrotting, it’s just another day at the office for the intrepid and sexy Lara as she races against time to stop evil from being unleashed upon the unsuspecting world.

In terms of directing, Jan de Bont knows how to do action effectively, but here he seems all at sea and doesn’t bring anything new to the table. Cradle of Life seems to suffer from a lack of imagination and feels like something of a repeat of the first movie, just with different settings and not done as well. There is a story in here somewhere, it just doesn’t come off as riveting or even exciting. Saying that, there are some great locations and a couple of good sequences, but nothing quite lives up to the first one. And while the first movie had a lack of coherence, it still managed to be intriguing, which Cradle of Life fails to do. I just feel like this movie is such a let down when it could have been so fun and enjoyable. Only a pulse-pounding score manages to inject a sense of movement into the film and stop it from being completely unwatchable.

Angelina Jolie is probably the best thing in this movie and once again brings prowess, sex appeal and strength to the title character. Without Jolie in the role and in this film, it would be wholly unwatchable. Gerard Butler does what he is required to do as the rogue Terry, who shares moments of sparky chemistry with her. Now I must say I like Ciarán Hinds as an actor, but he is saddled with a less than engaging role as the main villain. The writing of his character just feels lazy and not even the talents of Hinds can fix that. I felt that Christopher Barrie and Noah Taylor were extremely underused as Hillary and Bryce, considering the witty humour they brought to the first movie. Djimon Hounsou doesn’t fare well here and is not given enough to do in the role of a tribal man who helps Lara out.

Cradle of Life is a lazy sequel that sucks the life out of what the first film did, and only for the music and presence of Angelina Jolie is it at all watchable.