The Crow

Tags

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

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

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

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

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

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

Along Came a Spider

Tags

2000's, Along Came a Spider, Dylan Baker, Lee Tamahori, Michael Wincott, Monica Potter, Morgan Freeman, Thriller

Film Title

Along Came a Spider

Director

Lee Tamahori

Starring

• Morgan Freeman as Alex Cross
• Monica Potter as Jezzie Flanagan
• Michael Wincott as Gary Soneji
• Dylan Baker as Ollie McArthur

Alex Cross returns to the cinema screen, following his appearance in Kiss the Girls. Yet Along Came a Spider is not the best film as a thriller due to the way it slowly plays out and overload of twists that do it harm. Some shining moments are there, mainly an excellent Morgan Freeman and some good suspense. But sadly these traits are not enough to cover this leaky film that slowly falls apart.

Washington, D.C. Detective and forensic psychologist Alex Cross retires from the force after heading a sting operation that goes terribly wrong when his partner is killed. Feeling guilty for it despite it not being his fault, Alex retreats into himself while trying to come to terms with his emotions. Meanwhile, there is something in the works that will bring Alex back into the police work once more. It all begins with the kidnapping of Megan Rose, the daughter of a senator, from her prestigious school. The man who has kidnapped her is her teacher Gary Soneji, who has complex motives that he slowly teases out. He is the one who brings Alex back into the fold by contacting him and taunting him. Special Agent Jezzie Flanagan is held accountable for the breach in security as she was the one who was keeping watch over young Megan, and she is determined to find Megan out of guilt. Brought on to the case albeit with some reluctance, Alex partnered with Jezzie and with the aid of Detective Ollie McArthur, plunges into the complex case that shows that the kidnapping of Megan was just the tip of the iceberg for Soneji. Alex deduces that wants to be notorious for his crimes, but there are many other unanswered questions at play. A complex game is afoot now and Alex is determined to break it. Along with Jezzie , Alex sets out to uncover the motives and reasons before it is too late. But how can you catch a criminal who seemingly wants to be known but is effortless at being elusive?

The direction is the first part of the film that makes problematic probably the best word befitting of Along Came a Spider. Lee Tamahori doesn’t seem to know a thing about pacing a thriller, although he starts strong he can’t keep any momentum up. The film slowly descends into run of the mill shenanigans and even when it does have good parts, they are sadly overshadowed by the weaknesses of the plot. Like I said, there are some good moments of suspense generated. These consist of the opening in which the partner of Cross is killed after the operation goes awry and a rain-soaked set piece where Alex and Jezzie are confronted with Gary Soneji. These provide two highlights of a picture, that sadly lacks a punch. And with the script, I’m all for a few twists but Along Came a Spider tangles itself into oblivion with its attempts to be clever. I must say that I enjoyed Kiss the Girls better because its story kept you involved, whereas with this film it drifts away and becomes mundane. A score from Jerry Goldsmith, who is one of my favourite film composers, is appropriately suspenseful and imaginative, injecting the film with good helpings of both which the mixed movie requires.

As flawed and up and down as Along Came a Spider proves to be, Morgan Freeman portraying Alex Cross is simply brilliant. Freeman once more plays his part with a great deal of respect and shrewd intellect, as Alex is reluctantly drawn back into his job as detective by the quite baffling and twisting case presented to him. His gravity, quietly unassuming personality and keen insight of the character is what really keeps this movie going, even when it slips into contrivance and ridiculousness. Although I’ve seen Monica Potter in other good parts, her role as Jezzie Flanagan here is not one of them. The character is meant to be conflicted and guilt ridden, but she comes off as emotionless. Now I don’t know whether this is the fault of the script of Potter or the script, but the role just is not a good one. Even when later on they expand on her character, it’s too little too late. Michael Wincott is a lot more successful in his portrayal of the kidnapper Gary Soneji, who has motives that are hard to figure out. He isn’t an over the top villain, instead a quietly intelligent and often pitiful man with a warped world view. All of that is made clear and interesting due to Michael Wincott and his good work. In the main supporting part of the detective assigned to the case, Dylan Baker is given scant to do but remains quite memorable.

While the music, some tension and a reliable Morgan Freeman performance can be gleaned from Along Came a Spider, it is not enough to create something that will linger in the mind.

Alien Resurrection

Tags

1990's, Alien Resurrection, Brad Dourif, Dan Hedaya, Dominique Pinon, Gary Dourdan, Horror, J. E. Freeman, Jean-Pierre Jeunet, Kim Flowers, Leland Orser, Michael Wincott, Raymond Cruz, Ron Perlman, Science Fiction, Sigourney Weaver, Winona Ryder

Film Title

Alien Resurrection

Director

Jean-Pierre Jeunet

Starring

• Sigourney Weaver as Ellen Ripley
• Winona Ryder as Call
• Ron Perlman as Johner
• Dominique Pinon as Vriess
• Gary Dourdan as Christie
• J. E. Freeman as Wren
• Raymond Cruz as Distephano
• Brad Dourif as Dr Gediman
• Dan Hedaya as General Perez
• Michael Wincott as Elgyn
• Kim Flowers as Hillard
• Leland Orser as Purvis

Coming after the misunderstood and much maligned Alien 3, Alien Resurrection emerges as a mixed bag. We’ve got the horror and action for entertainment as well as some interesting and very stylish ideas, but also some wasted opportunities that could have been expanded on.

Two hundred years after Ripley sacrificed her life to kill the alien that was growing inside of her, scientists aboard the spaceship Auriga, have managed to create a clone of her, as well as the Alien. The corrupt and greedy scientists are part of an illegal experiment in raising the creature and developing many other like it. The operation is overseen by General Perez, corrupt scientist Wren and creepy Dr Gediman. Perez enlists the illicit services of a group of mercenaries in bringing human cargo aboard. The group of mercenaries consists of leader Elgyn, sarcastic Johner, enigmatic Call, paraplegic Vriess, weapon-bound Christie and Elgyn’s romantic interest Hillard. Once aboard, the cargo that they have provided will be used as the hosts for the Alien. Meanwhile, because of the cloning procedures, Ripley has developed super strength, acidic blood and a mental link to the Alien. Her personality has drastically changed and she is now a slinky, ambivalent and almost predatory shadow of her old self. The Alien itself has also evolved and is now more dangerous than ever. The mysterious Call discovers Ripley and it is revealed that she is part of a resistance movement that want to kill the cloned Ripley, in order to wipe out the Alien. Call is too late and soon enough the intellectually advanced beasts manage to escape and leave a trail of bodies in their wake. The newly cloned Ripley teams with the group, which also acquires the services of soldier Distephano and Purvis, one of the humans who was used as a host for the Alien spawn. There is also the presence of the Newborn, a loathsome hybrid of human and Alien that has been born from the Queen Alien to contend with. With time running out before the ship lands on Earth and carnage erupting from every possible place, Ripley and the group must fight to stay alive and make it out safe.

Alien Resurrection may aim for the claustrophobic impact of the spaceship setting of the original Alien, but there’s something hollow to it here that doesn’t match the iconic first film. Sure, the set design is great with slippery surfaces, dark tunnels and Alien nests to get through, but this style is not enough to sustain an impact. The ghost of the previous and more effective films hangs over Alien Resurrection and thus makes it a weaker sequel to such illustrious predecessors. There is also a wealth of interesting themes at play here, such as the dangers of cloning and hybridity, but they are not developed enough to be sufficiently interesting for the audience. Where Alien Resurrection succeeds is the action and horror, which are both in high supply. Standout sequences include the gang having to swim to another chamber while being chased by the rapidly advancing Aliens, Ripley’s descent into the nest and the gory scene of the Alien’s putting in motion their brutal escape from confinement. Jean-Pierre Jeunet is in the director’s chair and brings an unusual and eerie quality to this entry of the science fiction saga. Always keen visually, he brings verve to the corridors of botched clones, slimy pits and blood that score highly in my book. There can be an over reliance on special effects to be found in Alien Resurrection, but at least for the most part, Jeunet manages to keep it under wraps. The score provided makes uses of slithering percussion and punctuating brass, twinned with bristling cymbals and twinkling piano to symbolize the link between Ripley and the Alien, as well as the growing terror that the characters are plunged into.

Sigourney Weaver imbues this version of the Ripley character with slinky sex appeal, eerie cynicism and effective strength. Weaver really seems to relish showing us this newly modified Ripley, who may not have the humanity of her human counterpart but still has the unmistakable steel and wits to survive. Essaying the role for the fourth time, Sigourney Weaver is once again as riveting as ever. Winona Ryder brings a mix of pluck and vulnerability to the role of the enigmatic Call, who has own agenda for coming aboard the ship. Ron Perlman brings his familiar quality of being a super bad ass to the part of the dryly humorous Johner, while Dominique Pinon as the wheelchair-bound but heavily armed Vriess is clearly having a blast. Gary Dourdan brings intensity to the part of the skilled fighter Christie, whereas J. E. Freeman oozes oily menace as one of the corrupt scientists aboard the ship. Raymond Cruz is wasted as a renegade soldier who teams with the survivors, while Brad Dourif chews the scenery as the twisted Dr Gediman. Unfortunately Dan Hedaya, Michael Wincott, Kim Flowers and Leland Orser and chronically underused and given barely anything really memorable to do in the film.

A film very much full of ideas but not as thrilling as it could have been, Alien Resurrection is despite its flaws quite entertaining and manages to just about get the job done.