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.

R.I.P Bill Paxton

Tags

Bill Paxton

I am currently on a break, but after hearing of the passing of Bill Paxton at the age of 61, I had to do a post as a tribute to him. Paxton for me was always a fun actor to watch, he had a certain energy that burned across the screen. That is what I will miss the most about him, his very presence was welcomed whenever I saw it. It is a sad day and though he is gone, his memory will still be there through the movies he made. Rest in Peace Bill Paxton. May your spirit live on through your work for many years.

Frailty

Tags

2000's, Bill Paxton, Frailty, Jeremy Sumpter, Matt O'Leary, Matthew McConaughey, Powers Boothe, Psychological Thriller

Film Title

Frailty

Director

Bill Paxton

Starring

• Bill Paxton as Dad
• Matthew McConaughey as Fenton Meiks
• Powers Boothe as Agent Wesley Doyle
• Matt O’Leary as Young Fenton
• Jeremy Sumpter as Young Adam

A film that practically radiates a creeping sense of dread and shock yet keeps it in a plausible prism, Frailty is a dark and haunting psychological thriller marking the directing debut of Bill Paxton, that examines the destruction of a family through fanaticism and the relationships between father and sons.

At FBI headquarters, seasoned agent Wesley Doyle is surprised when a haunted looking man by the name of Fenton Meiks enters the building wanting to speak with him. Once he has established who this man is, Fenton reveals that he has knowledge regarding a notorious serial killer, referred to as God’s Hand who has been of large for a long time but has never been caught. Fenton claims to know this because the killer was his brother Adam, who he tells Doyle committed suicide this very night. Doyle begins to listen to the story that Fenton relays to him. Back in the 70’s, Fenton and his younger brother Adam were growing up in a small Texas house with their widowed father. He was a good father who looked after his kids and made them feel safe. That is until a fateful night when the father speaks of having being visited by an angel who appoints him as a divine force to seek out demons and kill them. Fenton as the older brother is extremely resistant to the idea of what he considers nonsense, while Adam as the younger sibling who idolizes his dad believes what he says. These claims by the father become very dark and twisted as he sets about attempting to find these demons who look like humans. The two children are then subjected to watching and helping him kill people who are on the list he acquires from an allegedly celestial source, slowly warping the way these boys see their father. Events came to a head when young Fenton couldn’t cope with standing by and watching these events unfold and his younger brother become as fanatical as his father. Yet as Fenton continues his recounting of the events that shaped his traumatised childhood, Doyle begins to question parts and gets the feeling that there is indeed more to the story than at first appears.

Bill Paxton directs with an assured touch and respect for the source material; playing scenes out in a natural way and bridging the gap between the thriller elements and the disquieting and stark drama at the centre of it all. Paxton doesn’t go for predictable here, cleverly employing various twists and turns that are jaw-dropping to witness and . The story could have easily slid into utter absurdity, but Frailty is delivered with precision and unsettling command that make sure any such fears are quickly allayed. Frailty often gets described as a horror movie and while there are certain references to this, I personally place it as a psychological thriller rather than outright horror. For starters, the main bulk of the film is charting the ways that family is accountable for shaping us and the implications of what we see can survive for a lifetime. There is precious little gore in Frailty, with Paxton excellently employing the less is more approach and leaving a lot to our own imaginations, with a healthy dose of ambiguity thrown in. If this film had gore galore, it would have destroyed the psychological drama at play as well as cheapened an intelligent story. The film is chilling from start to finish mainly because there is an air of possibility and reality to it, tempered with allusions to something metaphysical that are best embodied by the drained cinematography that steeps this exercise in a spooky atmosphere from the get go. Perhaps the most disturbing thing in the film is watching as the patriarch becomes so enveloped by his obsession and supposed visions, that he can’t face reason and becomes a force of disquieting unraveling. The film undoubtedly has a depth and layered feel to it, functioning as both a creepy evocation of a family forever altered and a mysterious thriller that conceals as much as it reveals. I mean I think everyone can relate to the feeling of the two kids in Frailty, as we all as children have usually looked up to our parents and obeyed them. No family is perfect, but the susceptibility of children plays a large part of this film, following the kids as they are forced to endure their father’s deranged ways and be party to his madness. There are those in the audience who will find some of this film hard to digest, yet it never sets out to be a comfortable watch and firmly establishes this from the start. The low hum and staccato ambience of the score perfectly match the gradual unearthing of the past and the shocking impact of it.

As well as being on directing duties, Bill Paxton successfully leads the cast with a memorable performance. Essaying the role of the father whose actions ultimately changed and traumatised his children, Paxton brings out such a steadfast belief that the character believes he is really doing the work of God and not actually harming anyone. This is probably the most effective thing about Paxton’s work; he doesn’t play the part as a horrible father who is a brute and outright monster, at the start he is a very amiable and relatively calm person. As the movie progresses, you can still see that he loves his children but is so obsessed by the alleged visitation and message that it harms them in the process. Paxton makes the role his own and displays great command of the work, both in front of and behind the camera. Matthew McConaughey marvellously conveys shell-shocked and haunted trauma as the man retelling his story, yet gives off a hint of elusive mystery to deepen the proceedings a plenty. In a supporting turn, Powers Boothe is rightly understated listening to the shocking story with both a trepidation and the feeling that something is not quite right there. He is essentially an extension of the audience and how we react to hearing this tale. The two boys(Matt O’Leary and Jeremy Sumpter) playing the kids whose lives are altered by their father’s blind devotion and zealous beliefs are both incredibly convincing, especially Matt O’Leary as the older and more mature Fenton, whose caught between the care for his father and his shock at the atrocities that occur.

A film that engages the brain as it unsettles and keeps you on your toes, Frailty is superbly executed with perceptive direction from Bill Paxton as well as a cast that he heads.

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.

Aliens

Tags

1980's, Action, Al Matthews, Aliens, Bill Paxton, Carrie Henn, Horror, James Cameron, Jenette Goldstein, Lance Henriksen, Michael Biehn, Paul Reiser, Science Fiction, Sigourney Weaver, William Hope

Film Title

Aliens

Director

James Cameron

Starring

• Sigourney Weaver as Ellen Ripley
• Michael Biehn as Corporal Hicks
• Paul Reiser as Burke
• Carrie Henn as Newt
• Bill Paxton as Private Hudson
• Jenette Goldstein as Private Vasquez
• Lance Henriksen as Bishop
• William Hope as Lieutenant Gorman
• Al Matthews as Sergeant Apone

Coming seven years after the horror masterpiece that was Alien, Aliens is a different kind of beast. Whereas the first film was a slow-builder of tension and atmosphere, Aliens is a more action-packed and breakneck film. Saying that is a very effective sequel and its very interesting watching the change in direction and the impressive work once again from Sigourney Weaver. One note before the review begins, I will be reviewing the Director’s extended cut version of this film, not the theatrical edit.

After successfully battling the Alien and destroying her ship in the last movie, Ripley is found floating in her escape pod through space in hyper sleep. Although she originally thought her rescue ship would be picked up soon, 57 years have actually gone by. She is picked up by her employers Weyland-Yutani who ask her questions about why she blew up the ship and doubt her story about battling the Alien. Burke, the slimy financier of the corporation seems to believe her, but Ripley has a tough time getting her point across. Also she learns that her daughter back on Earth died while she was in hyper sleep which devastates Ripley. In another horrifying revelation, she learns that the planet that she landed on, named LV-426 has been colonized. Traumatized by her encounter with the Alien, Ripley is soon taken seriously when communications with the colony are mysteriously wiped out. Knowing that Ripley is the only person to face the creature, Burke persuades her to join a team of marines on a mission to the planet. The marines are led by the inexperienced Lieutenant Gorman and among those in the squad are the level-headed Corporal Hicks, joker Private Hudson and tough cookie Private Vasquez. Also joining the party is Burke and Bishop, an android who encounters hostility from Ripley after her experience with Ash in the last movie. Ripley predicts that the mission is doomed and sure enough upon landing on the planet she is proved right. She isn’t just facing one alien this time, there is a multitude of the vicious creatures to contend with. Along the way, Ripley rescues a traumatized young girl nicknamed Newt, who becomes something of a surrogate daughter for her. As terror increases and the body count rises, Ripley must protect herself and the other from the threat of the Alien, including the fearsome Queen that spawns the eggs for the creatures.

The change in direction of Aliens is an interesting thing as the action is brought into the forefront. James Cameron’s assured direction and skill at shooting explosive set pieces is on full display here. If Alien was the lone battle in a floating spaceship, Aliens is the war zone of conflict and bloodshed. While the action and the horror are amazing to behold and crafted with care, Aliens never scrimps on the story beneath it. Most primarily Ripley’s personal and emotional journey this time around, as her maternal instincts brought on by the presence of Newt give her the steely strength and fire she needs to take down the Alien. When she faces the Queen Alien, it isn’t just a battle of human vs animal, it’s a battle of mothers as well. James Horner provides the electrifying score of military drums, slithering strings and menacing brass. Visuals in Aliens are outstanding with the dark interiors of ships and buildings becoming menacing and soaked with blood as the group of aliens attack all who enter and created a cocoon like environment to store their hosts.

Sigourney Weaver is once again on fine form as Ripley, showcasing strength, sadness and grit as she battles to protect herself and those around her. Aliens is the film in which Ripley really comes into her own as an iconic character, as we witness her take on the creatures with intelligence and resourcefulness. It is one outstanding performance by Sigourney Weaver that really adds to the impact of the film. Michael Biehn makes for a likable character in the form of Corporal Hicks, who knows how to handle an extreme situation like the one the group finds themselves in. Paul Reiser imbues Burke with a slimy and avaricious quality as he attempts to bring the creature back to the corrupt company in increasingly nefarious ways, with little regard for the people who die in the process. With her wide eyes and wispy voice, Carrie Henn is excellent as the traumatized Newt, who comes to see the determined Ripley as her mother figure. Bill Paxton brings a dash of humour to the role of Hudson, whose loud actions and panicked behaviour do nothing to quell the anxiety building around the group. Jenette Goldstein nails the tough chick part of Vasquez with feisty energy and aggression. Lance Henriksen makes an impression as the sophisticated and intelligent android Bishop, while William Hope as the inexperienced and fear-stricken Lieutenant Gorman and Al Matthews as the chain-smoking Sergeant  Apone have memorable parts.

Tense, action-packed and thrilling, Aliens is a refreshing sequel with cool direction and a powerful turn from Sigourney Weaver.