Starring: William Shatner, Leonard Nimoy, DeForest Kelley, Stephen Collins
Written by: Alan Dean Foster (story), Harold Livingston (screenplay)
Directed by: Robert Wise
It's been three years since the five-year mission of the Original Series. The USS Enterprise has been in drydock, undergoing an extensive refit under the new command of Captain Willard Decker. The re-designed starship is called back into service when Starfleet gets wind of a massive energy cloud on its way to Earth. Assuming command of the Enterprise is her storied captain, Admiral James T. Kirk. After rounding up the original members of his crew, Kirk and co. head off to stop the looming alien threat before it can reach Earth.
The 1979 release of Star Trek: The Motion Picture marks ten years since we've seen the original crew in action. And a lot has changed, since then. Capt. Kirk has been languishing behind a desk after his promotion to Admiral; Spock has been on Vulcan, in preparation for the Kolinahr ritual (the purging of all remaining emotion); and the Enterprise, herself, has been undergoing massive refits - the result of which is a starship of such size and grandeur, that it's rightful place is on the silver screen.
Most of the cast and crew return to their posts onboard the Enterprise - with the exception of Kirk, who's been chomping at the bit to get back out there with his ship. We have a captain who is irritated with where his career has landed him. He uses any and all clout to reclaim command of his beloved vessel - and there's tension on the bridge, with Kirk having usurped Decker's rightful place in the Captain's chair. The term "muscled his way in" is taken quite literally here, as Kirk has never looked more fit on the bridge of the Enterprise than he does in The Motion Picture (the result of Shatner's heavy fitness regimen and starvation diet before cameras rolled).
One of the movie's signature scenes is the re-introduction of the Enterprise. Wise makes full use of the cinematic wide screen, as every angle of the ship is on display. We've never seen the ship this big before, and we share in Kirk's loving admiration as we are reacquainted with the massive starship. And it's the perfect scene to catapult the fans of Star Trek into a big screen adventure - the small screen could never do the ship justice. The sequence (and entire movie, for that matter) are bolstered ten-fold by Jerry Goldsmith's incredible score - one of the composer's very best.
While the financial success of The Motion Picture can be credited with ensuring the future of the Trek film series, its critical success is certainly a mixed bag. The Motion Picture is a great science fiction story, but it doesn't capture the magic of the Original Series. It's sort of like having a "thinking man's sci-fi" film with the Enterprise crew members along for the trip. Step back and look at the Original Series, and the original crew movies in the film series, The Motion Picture feels like an awkward stepping stone between the two - not only in tone, but in costume and set design, as well. Wise was able to go back and re-edit the movie for a 2001 DVD release (the version being reviewed), and it helped lessen the soporific feeling of the original '79 release. So pacing wasn't an issue for me. It just didn't feel like Star Trek.
5.5/10
Wednesday, January 13, 2010
Tuesday, January 12, 2010
To Live and Die in L.A. (1985)
Starring: William Petersen, Willem Dafoe, John Pankow
Written by: Gerald Petievich (novel, screenplay), William Friedkin (screenplay)
Directed by: William Friedkin
To Live and Die in L.A., William Friedkin's stylish 80s crime thriller, is notorious for one of the greatest car chases ever captured on film. Which is completely deserved, as the chase scene featured in the movie is a true nail-biter. But unlike Bullitt (that other "great car chase" movie), there's a lot more going on story-wise in the film.
From the opening credits with the smog-choked skies of the city and the industrial wastelands of L.A., it's clear we won't be spending any time in the scenic landscapes and upscale neighborhoods Hollywood usually has us visit. The L.A. that Friedkin is showing us is the seedy underbelly, the trainyards, dilapidated architecture and gritty urban cityscape. The skies run blood red in the opening shots, and the haze makes the vistas almost alien in appearance. A different setting indeed, when "Miami Vice" ruled the airwaves.
When his partner is found dead while tracking down counterfeiter extraordinaire Rick Masters (Dafoe), hotshot Secret Service agent Richard Chance vows to bring him down at any cost. Together with his new straight-laced (and spineless) partner, John Vukovich (Pankow), Chance hits the mean streets of Los Angeles with a vengeance, using everything from blackmail to robbery just to get close to his prey.
Chance is an adrenaline junkie - he's quick to jump headfirst into a situation and damn the consequences. Masters has been untouchable for years and loves to flaunt this in his criminal enterprise. At times, the lines of distinction between these two men bleeds, and one wonders if there's even a good guy.
Counterfeiting becomes a major theme in the film, beyond just the act of printing money. The entire movie is counterfeit - from the relationships, to the motives, to the world in which these characters live. Everyone's being played by somebody else, you don't know who to trust, and it leaves the entire movie shaded in ambiguity that throws you off the scent. Together with the hard-hitting action scenes (and an ending no one saw coming), you're left reeling from the roller coaster chase of it all.
8/10
Written by: Gerald Petievich (novel, screenplay), William Friedkin (screenplay)
Directed by: William Friedkin
To Live and Die in L.A., William Friedkin's stylish 80s crime thriller, is notorious for one of the greatest car chases ever captured on film. Which is completely deserved, as the chase scene featured in the movie is a true nail-biter. But unlike Bullitt (that other "great car chase" movie), there's a lot more going on story-wise in the film.
From the opening credits with the smog-choked skies of the city and the industrial wastelands of L.A., it's clear we won't be spending any time in the scenic landscapes and upscale neighborhoods Hollywood usually has us visit. The L.A. that Friedkin is showing us is the seedy underbelly, the trainyards, dilapidated architecture and gritty urban cityscape. The skies run blood red in the opening shots, and the haze makes the vistas almost alien in appearance. A different setting indeed, when "Miami Vice" ruled the airwaves.
When his partner is found dead while tracking down counterfeiter extraordinaire Rick Masters (Dafoe), hotshot Secret Service agent Richard Chance vows to bring him down at any cost. Together with his new straight-laced (and spineless) partner, John Vukovich (Pankow), Chance hits the mean streets of Los Angeles with a vengeance, using everything from blackmail to robbery just to get close to his prey.
Chance is an adrenaline junkie - he's quick to jump headfirst into a situation and damn the consequences. Masters has been untouchable for years and loves to flaunt this in his criminal enterprise. At times, the lines of distinction between these two men bleeds, and one wonders if there's even a good guy.
Counterfeiting becomes a major theme in the film, beyond just the act of printing money. The entire movie is counterfeit - from the relationships, to the motives, to the world in which these characters live. Everyone's being played by somebody else, you don't know who to trust, and it leaves the entire movie shaded in ambiguity that throws you off the scent. Together with the hard-hitting action scenes (and an ending no one saw coming), you're left reeling from the roller coaster chase of it all.
8/10
Lethal Weapon 2 (1989)
Starring: Mel Gibson, Danny Glover, Joe Pesci
Written by: Shane Black (story, characters), Warren Murphy (story), Jeffrey Boam (screenplay)
Directed by: Richard Donner
Two things come to mind when people think of the Summer of '89: sequels and the uber-blockbuster media event known as Batman. And that summer was a bitter pill to swallow, as most of the sequels released were disappointments (to say the least). Indiana Jones and the Last Crusade was one of two contenders left standing after the dust settled. The other was Lethal Weapon 2.
Returning to the big screen is the Odd Couple of buddy movies: Roger Murtaugh and Martin Riggs. This time around they're going head to head with a group of South African drug smugglers, led by Arjen Rudd, the minister of affairs for the South African Consulate. The only snag is that Rudd's group is protected under diplomatic immunity; the police can't touch him. Riggs and Murtaugh are reassigned to the protection of Leo Getz (Pesci), a federal witness who laundered half a billion dollars for Rudd's outfit. Riggs and Murtaugh take the fight to Rudd's doorstep - picketing outside the consulate ("END APARTHEID NOW!") and harassing Rudd in his office. When the drug smugglers wage war on the police, Riggs and Murtaugh take the law into their own hands.
There's a distinct tonal shift toward comedy in the Lethal Weapon series starting with Lethal Weapon 2. The score heard over the opening title screen is a Looney Tunes-esque theme, setting the tone for a more comical entry in the series. What follows is a five minute car chase that emphasizes explosions, frenetic pacing, and lighthearted bickering between the two leads.
For most of the movie's running time (up until the third act), Riggs is still crazy - but this time it stems less from psychosis, and more from a comic sense of mischief. He's a lot more well-adjusted in this film. He spends a lot of time at the Murtaugh residence (Mrs. Murtaugh often does his laundry), and lives for getting into trouble ... usually at the expense of Murtaugh's nerves.
Adding to the film's comic tone is the introduction of Getz. He's a blabbermouth, slimy and eager to please. He's the star witness to the state, but ends up being pushed around by two cops that want nothing to do with him. He's a great foil for Riggs and Murtaugh - instead of focusing on the infighting between the pair, the movie has fun with Getz's mistreatment by the two detectives. His drive-thru rant is one of the movie's more memorable moments (unfortunately to be rehashed in Lethal Weapon 4).
It's when we reach the third act that we're reminded of the ever-present darkness that lurked in the first film; that Lethal Weapon brand of violence. There's a sadism that effects most of the characters involved - it's almost a footnote to remind us this isn't solely a comedy.
But the movie stands as a rare example of a sequel that doesn't glide on repeating the magic of the first film. There's a progression in the relationship between Riggs and Murtaugh; these guys are growing closer together with each step. It's no longer an issue of just working together - there's a great deal of trust involved. And that's the key to this movie's success: once the credits start rolling, we miss these characters already.
7/10
Author's note:
(SPOILER)
This movie would've been an 8/10 for me, except for one irritating story point: Vorstedt's admission to killing Riggs' wife.
It is astonishingly lazy screenwriting to retcon Vorstedt as Victoria's killer. I understand why the writers did this - they needed a reason to get the bloodlust back into Riggs' eyes; get him pissed off again. But it comes off as amazingly transparent, when it's obvious that Vorstedt wasn't even a glimmer in a writer's eye back in '86 when Lethal Weapon was written. Here's an idea ... if you allow Riggs to move on with his life and fall in love with Rika (as he did) then kill off Rika! That should be enough to get Riggs thirsty for vengeance. Reawaken the psychopath, so to speak. Instead, Riggs goes ballistic after hearing the news, gets tossed into the water, and then finds Rika's body at the bottom of the ocean.
It's lazy writing like this that blows a pretty big hole in the story. And to be honest, it was irritating enough when I watched the movie that I considered a 6/10 because of it. But at some point, it becomes an inability to see the forest for the trees. There's rating, and then there's being overly picky.
Written by: Shane Black (story, characters), Warren Murphy (story), Jeffrey Boam (screenplay)
Directed by: Richard Donner
Two things come to mind when people think of the Summer of '89: sequels and the uber-blockbuster media event known as Batman. And that summer was a bitter pill to swallow, as most of the sequels released were disappointments (to say the least). Indiana Jones and the Last Crusade was one of two contenders left standing after the dust settled. The other was Lethal Weapon 2.
Returning to the big screen is the Odd Couple of buddy movies: Roger Murtaugh and Martin Riggs. This time around they're going head to head with a group of South African drug smugglers, led by Arjen Rudd, the minister of affairs for the South African Consulate. The only snag is that Rudd's group is protected under diplomatic immunity; the police can't touch him. Riggs and Murtaugh are reassigned to the protection of Leo Getz (Pesci), a federal witness who laundered half a billion dollars for Rudd's outfit. Riggs and Murtaugh take the fight to Rudd's doorstep - picketing outside the consulate ("END APARTHEID NOW!") and harassing Rudd in his office. When the drug smugglers wage war on the police, Riggs and Murtaugh take the law into their own hands.
There's a distinct tonal shift toward comedy in the Lethal Weapon series starting with Lethal Weapon 2. The score heard over the opening title screen is a Looney Tunes-esque theme, setting the tone for a more comical entry in the series. What follows is a five minute car chase that emphasizes explosions, frenetic pacing, and lighthearted bickering between the two leads.
For most of the movie's running time (up until the third act), Riggs is still crazy - but this time it stems less from psychosis, and more from a comic sense of mischief. He's a lot more well-adjusted in this film. He spends a lot of time at the Murtaugh residence (Mrs. Murtaugh often does his laundry), and lives for getting into trouble ... usually at the expense of Murtaugh's nerves.
Adding to the film's comic tone is the introduction of Getz. He's a blabbermouth, slimy and eager to please. He's the star witness to the state, but ends up being pushed around by two cops that want nothing to do with him. He's a great foil for Riggs and Murtaugh - instead of focusing on the infighting between the pair, the movie has fun with Getz's mistreatment by the two detectives. His drive-thru rant is one of the movie's more memorable moments (unfortunately to be rehashed in Lethal Weapon 4).
It's when we reach the third act that we're reminded of the ever-present darkness that lurked in the first film; that Lethal Weapon brand of violence. There's a sadism that effects most of the characters involved - it's almost a footnote to remind us this isn't solely a comedy.
But the movie stands as a rare example of a sequel that doesn't glide on repeating the magic of the first film. There's a progression in the relationship between Riggs and Murtaugh; these guys are growing closer together with each step. It's no longer an issue of just working together - there's a great deal of trust involved. And that's the key to this movie's success: once the credits start rolling, we miss these characters already.
7/10
Author's note:
(SPOILER)
This movie would've been an 8/10 for me, except for one irritating story point: Vorstedt's admission to killing Riggs' wife.
It is astonishingly lazy screenwriting to retcon Vorstedt as Victoria's killer. I understand why the writers did this - they needed a reason to get the bloodlust back into Riggs' eyes; get him pissed off again. But it comes off as amazingly transparent, when it's obvious that Vorstedt wasn't even a glimmer in a writer's eye back in '86 when Lethal Weapon was written. Here's an idea ... if you allow Riggs to move on with his life and fall in love with Rika (as he did) then kill off Rika! That should be enough to get Riggs thirsty for vengeance. Reawaken the psychopath, so to speak. Instead, Riggs goes ballistic after hearing the news, gets tossed into the water, and then finds Rika's body at the bottom of the ocean.
It's lazy writing like this that blows a pretty big hole in the story. And to be honest, it was irritating enough when I watched the movie that I considered a 6/10 because of it. But at some point, it becomes an inability to see the forest for the trees. There's rating, and then there's being overly picky.
Lethal Weapon (1987)
"Have you ever met anybody you didn't kill?"
"Well, I haven't killed you yet."
Starring: Mel Gibson, Danny Glover, Gary Busey
Written by: Shane Black
Directed by: Richard Donner
If there's one good movie to emerge from the 80s buddy film genre, it's Lethal Weapon - a movie chock full of action, suspense and most importantly, chemistry between the two leads.
In the days leading up to his retirement from the force, LAPD sergeant Roger Murtaugh has been assigned the case of Amanda Hunsacker, a young woman found dead after taking a nosedive from her high-rise apartment. Things get personal for Murtaugh after he discovers Amanda was the daughter of Michael Hunsacker, an old friend from his days in the army. Further complicating matters is Murtaugh's new partner, sergeant Martin Riggs, a burnt-0ut cop who's registered as a Lethal Weapon from his combat experience in Vietnam. Riggs has been on the edge since his wife's death three years prior. The two reluctant partners are forced to work together to solve Amanda's murder, which leads to the discovery of Shadow Company, a drug-smuggling cartel importing heroin into Los Angeles. Murtaugh vows to bring down the drug cartel, if only he can survive his partner.
There's no shortage of gunplay, fistfights, explosions and high-speed chases in this gripping action movie from the mid-80s, and Donner clearly wasn't shy about the violence; much of it is the in-your-face variety. But it's the relationship and the interplay between the two leads that elevates this film over other genre fare, and adds loads of character to the story. Riggs and Murtaugh couldn't be a more disparate duo. One enjoys his time on the job neat and by the book - the other lives on the edge, an adrenaline addict and nearly too dangerous for his own good. Their settings are at odds with one another.
We first see Murtaugh on the morning of his 50th birthday. He's surrounded by a loving family, lives in the big house with a boat in the driveway, and enjoys the life of the domesticated family man in his autumn years. As we're introduced to Murtaugh, all he has to worry about is the gray hair, the pains of raising a teenage daughter with her budding sexuality, and finishing out the last few days of his fairly tame routine on the job. Riggs on the other hand, lives by himself in a trailer on the beach; no one around but a dog to keep him company. He lives the life of a lonely man, his surroundings are in disarray, and there's no solace in his existence. He wakes up every day, going through the motions. We soon find out that it's the job that keeps him going. Not only is Riggs at odds with Murtaugh, he's at odds with himself. He very nearly actually kills himself with his pistol, but can't do it with his wife's wedding picture staring him in the face. He desperately wants to end it, but it's her that's keeping him alive, plugging along, day after day.
There's a definite edge to this movie, most of which stems from Riggs, himself. His wife's death has reduced him to little more than a badge-wearing killing machine. His aim is lethal, and his hands quick to snap one's neck. He's a loner, as no one in the department wants anything to do with him. More often than not, he's got the look of a manic wild man, thanks to Gibson's crazy eyes and long hair (somewhat reminiscent of the vagrant appearance of John Rambo in First Blood).
Much of the movie's humor is derived from the bickering between Murtaugh and Riggs. When Riggs isn't making fun of Mrs. Murtaugh's cooking, he's poking fun at Murtaugh's overly professional approach to the job. Riggs derives pleasure from the chase, Murtaugh's happy with staying alive. It's almost like a sadistic action movie version of Bert and Ernie. And the movie could easily veer off into a married couple on the job (as the sequels will, in time), but the duo's infighting is offset by the violence and the very dangerous nature of the film's bad guys. In the end, these two detectives are only trying to survive to see tomorrow.
8.5/10
"Well, I haven't killed you yet."
Starring: Mel Gibson, Danny Glover, Gary Busey
Written by: Shane Black
Directed by: Richard Donner
If there's one good movie to emerge from the 80s buddy film genre, it's Lethal Weapon - a movie chock full of action, suspense and most importantly, chemistry between the two leads.
In the days leading up to his retirement from the force, LAPD sergeant Roger Murtaugh has been assigned the case of Amanda Hunsacker, a young woman found dead after taking a nosedive from her high-rise apartment. Things get personal for Murtaugh after he discovers Amanda was the daughter of Michael Hunsacker, an old friend from his days in the army. Further complicating matters is Murtaugh's new partner, sergeant Martin Riggs, a burnt-0ut cop who's registered as a Lethal Weapon from his combat experience in Vietnam. Riggs has been on the edge since his wife's death three years prior. The two reluctant partners are forced to work together to solve Amanda's murder, which leads to the discovery of Shadow Company, a drug-smuggling cartel importing heroin into Los Angeles. Murtaugh vows to bring down the drug cartel, if only he can survive his partner.
There's no shortage of gunplay, fistfights, explosions and high-speed chases in this gripping action movie from the mid-80s, and Donner clearly wasn't shy about the violence; much of it is the in-your-face variety. But it's the relationship and the interplay between the two leads that elevates this film over other genre fare, and adds loads of character to the story. Riggs and Murtaugh couldn't be a more disparate duo. One enjoys his time on the job neat and by the book - the other lives on the edge, an adrenaline addict and nearly too dangerous for his own good. Their settings are at odds with one another.
We first see Murtaugh on the morning of his 50th birthday. He's surrounded by a loving family, lives in the big house with a boat in the driveway, and enjoys the life of the domesticated family man in his autumn years. As we're introduced to Murtaugh, all he has to worry about is the gray hair, the pains of raising a teenage daughter with her budding sexuality, and finishing out the last few days of his fairly tame routine on the job. Riggs on the other hand, lives by himself in a trailer on the beach; no one around but a dog to keep him company. He lives the life of a lonely man, his surroundings are in disarray, and there's no solace in his existence. He wakes up every day, going through the motions. We soon find out that it's the job that keeps him going. Not only is Riggs at odds with Murtaugh, he's at odds with himself. He very nearly actually kills himself with his pistol, but can't do it with his wife's wedding picture staring him in the face. He desperately wants to end it, but it's her that's keeping him alive, plugging along, day after day.
There's a definite edge to this movie, most of which stems from Riggs, himself. His wife's death has reduced him to little more than a badge-wearing killing machine. His aim is lethal, and his hands quick to snap one's neck. He's a loner, as no one in the department wants anything to do with him. More often than not, he's got the look of a manic wild man, thanks to Gibson's crazy eyes and long hair (somewhat reminiscent of the vagrant appearance of John Rambo in First Blood).
Much of the movie's humor is derived from the bickering between Murtaugh and Riggs. When Riggs isn't making fun of Mrs. Murtaugh's cooking, he's poking fun at Murtaugh's overly professional approach to the job. Riggs derives pleasure from the chase, Murtaugh's happy with staying alive. It's almost like a sadistic action movie version of Bert and Ernie. And the movie could easily veer off into a married couple on the job (as the sequels will, in time), but the duo's infighting is offset by the violence and the very dangerous nature of the film's bad guys. In the end, these two detectives are only trying to survive to see tomorrow.
8.5/10
Monday, January 11, 2010
Prince of Darkness (1987)
Part VI in a John Carpenter film quest.
Starring: Donald Pleasence, Jameson Parker, Victor Wong, Dennis Dun
Written by: Martin Quatermass
Directed by: John Carpenter
After the death of a priest in a Los Angeles church leads to the discovery of a cylinder in the church basement (containing a swirling green liquid), a group of physics graduate students from a local university is asked to investigate. After translating a manuscript found near the cylinder, it is discovered that the liquid contains the essence of the Anti-Christ. The manuscript portends that when the son awakens, he will then awaken the father (the Anti-God), trapped in another dimension. The remains of the Anti-Christ have been stirring in the preceding days, and the students' research finally awakens the demon. He assumes control of the students (one by one) from the inside of the church, while controlling the group of homeless people living outside. As their numbers decrease, the research team must stop the Anti-Christ and sever the portal before the devil is released.
Critics weren't kind to Prince of Darkness upon its release in 1987 (and for that matter, neither were audiences). And it left me feeling odd as the credits rolled. The movie is downright creepy, and it wasn't lacking in the scary department, either (to be fair, I don't have the stomach that horror fans do). And the movie certainly has a great setup. But it's the payoff that's disappointing, for me. There were some good scares in the second half (along with some unsettling makeup), but these weren't characters I really cared for. There was a romance in the beginning of the film that was never really fleshed out, reducing any impact that would have on the movie's climax. And the only character that had any personality was Walter (Dennis Dun), and he was the jerk of the group (any humor was derived from that particular role).
The zombie-movie elements of the possessed humans grew a little outlandish, as limbs were chopped, and heads hacked away (the zombie-movie angle was used to greater effect in Assault on Precinct 13) , which took away from the psychological thriller aspect; one of the movie's strengths. The overly technical dialog (which many a critic had a beef with), I didn't mind, at all - especially when you had the intriguing idea of people in the future broadcasting messages back to the present through neural stimulation (dreams). Prince of Darkness faded from theaters and found a cult following in the years ahead. I have a feeling my attitude toward this film will change with another viewing.
6.0/10
Starring: Donald Pleasence, Jameson Parker, Victor Wong, Dennis Dun
Written by: Martin Quatermass
Directed by: John Carpenter
After the death of a priest in a Los Angeles church leads to the discovery of a cylinder in the church basement (containing a swirling green liquid), a group of physics graduate students from a local university is asked to investigate. After translating a manuscript found near the cylinder, it is discovered that the liquid contains the essence of the Anti-Christ. The manuscript portends that when the son awakens, he will then awaken the father (the Anti-God), trapped in another dimension. The remains of the Anti-Christ have been stirring in the preceding days, and the students' research finally awakens the demon. He assumes control of the students (one by one) from the inside of the church, while controlling the group of homeless people living outside. As their numbers decrease, the research team must stop the Anti-Christ and sever the portal before the devil is released.
Critics weren't kind to Prince of Darkness upon its release in 1987 (and for that matter, neither were audiences). And it left me feeling odd as the credits rolled. The movie is downright creepy, and it wasn't lacking in the scary department, either (to be fair, I don't have the stomach that horror fans do). And the movie certainly has a great setup. But it's the payoff that's disappointing, for me. There were some good scares in the second half (along with some unsettling makeup), but these weren't characters I really cared for. There was a romance in the beginning of the film that was never really fleshed out, reducing any impact that would have on the movie's climax. And the only character that had any personality was Walter (Dennis Dun), and he was the jerk of the group (any humor was derived from that particular role).
The zombie-movie elements of the possessed humans grew a little outlandish, as limbs were chopped, and heads hacked away (the zombie-movie angle was used to greater effect in Assault on Precinct 13) , which took away from the psychological thriller aspect; one of the movie's strengths. The overly technical dialog (which many a critic had a beef with), I didn't mind, at all - especially when you had the intriguing idea of people in the future broadcasting messages back to the present through neural stimulation (dreams). Prince of Darkness faded from theaters and found a cult following in the years ahead. I have a feeling my attitude toward this film will change with another viewing.
6.0/10
Thursday, January 7, 2010
Big Trouble in Little China (1986)
Part V in a John Carpenter film quest.
Starring: Kurt Russell, Kim Cattrall, Dennis Dun, James Hong, Victor Wong
Written by: Gary Goldman, David Z. Weinstein, W.D. Richter (adaptation)
Directed by: John Carpenter
"When some wild-eyed, eight-foot-tall maniac grabs your neck, taps the back of your favorite head up against the barroom wall, and he looks you crooked in the eye and he asks you if ya paid your dues, you just stare that big sucker right back in the eye, and you remember what ol' Jack Burton always says at a time like that: 'Have ya paid your dues, Jack?' 'Yessir, the check is in the mail'."
Way before the East-meets-West action movie became profitable with American audiences, there was 1986's Big Trouble in Little China. This is one of those movies that was tailor-made for the 80s Summer blockbuster crowd. It's an action/adventure/comedy/monster movie/kung fu/ghost story/western that hits the ground running and leaves the viewer working to keep up. It's got it all: swordfights, damsels, demons, gunfights, standoffs, high-flying kung fu, Chinese black magic and enough witty banter to keep things light and comical.
The story centers around loudmouth truck driver Jack Burton (Kurt Russell). After delivering his freight in San Francisco, Jack meets his old friend, Wang Chi, and drives him to the airport to meet his fiancée, arriving from China. Also awaiting the flight are the Lords of Death, a street gang operating under the rarely seen David Lo Pan in Chinatown. A scuffle ensues, and in the confusion, the Lords of Death make off with Wang's bride-to-be, with Jack and Wang hot on their heels. The chase leads our heroes deep beneath Chinatown, in the criminal underworld ruled by the mysterious Lo Pan - a 200 year-old sorcerer cursed to walk the earth until he marries and sacrifices a woman with green eyes. When they find out Lo Pan seeks to marry Wang's fiancée, so begins a daring adventure into the murky waters of Lo Pan's domain.
Carpenter keeps the action moving from the start, leaving the movie jam-packed with high-flying martial arts, gunplay, and snappy dialogue. When there's no physical action onscreen, the audience is preoccupied with the mystery surrounding just what Lo Pan actually is (and Burton's comic inability to comprehend this information).
But if there is a fulcrum on which everything in Big Trouble in Little China rests, it is the film's main character. Because Jack Burton has never seen anything that's going on in the movie (nor heard any of the myths), he is the audience's guide through the adventure. He shares our reactions, and grounds the movie in some kind of reality we can work with. Burton is also Carpenter's stab at the quintessential 80s action hero. He's the mulleted meathead, who's quick with the one-liners (and this is Carpenter's one-liner factory if ever there was one) , and charming with the ladies (or at least he thinks he is).
But what separates Burton from the Stallone, Norris, and Seagal characters of the decade ... well, to put it simply, he's an idiot. He's a bit of a braggart, brash, and overly self-confident, and he would fit the Indiana Jones mold if he actually got things done. But he's more talk than action - all swagger, no substance, as it were (one gets the sense that Russell's playing Burton as an inept John Wayne, which only makes things funnier, in this case). And as the movie gets going, it becomes evident that the Jack and Wang roles are reversed; Wang becomes the ever capable leading man, while Jack ends up becoming the trusty sidekick (he just doesn't know it). What kind of action hero tosses his knife across the room after jerking it out of its sheath, and then spends the entire fight looking for the weapon while his partner does all the work? Or knocks himself out with falling rubble after shooting his gun in the air (and again, leaving Wang to all the fighting)? For me, Jack Burton is Carpenter's most entertaining character to date; you just end up sitting there wide-eyed at this guy's shenanigans.
Big Trouble in Little China is the very definition of a cult film. Virtually ignored upon release in 1986, the movie rightfully gained a cult following on home video (which was really a godsend in the 80s). I guess it's just one of those movies where you either get it, or you don't. In my opinion, I think Big Trouble in Little China stands as Carpenter's most entertaining work. It's escapism in its purest form, from back in the days when escapism ruled the multiplexes.
9.5/10
Starring: Kurt Russell, Kim Cattrall, Dennis Dun, James Hong, Victor Wong
Written by: Gary Goldman, David Z. Weinstein, W.D. Richter (adaptation)
Directed by: John Carpenter
"When some wild-eyed, eight-foot-tall maniac grabs your neck, taps the back of your favorite head up against the barroom wall, and he looks you crooked in the eye and he asks you if ya paid your dues, you just stare that big sucker right back in the eye, and you remember what ol' Jack Burton always says at a time like that: 'Have ya paid your dues, Jack?' 'Yessir, the check is in the mail'."
Way before the East-meets-West action movie became profitable with American audiences, there was 1986's Big Trouble in Little China. This is one of those movies that was tailor-made for the 80s Summer blockbuster crowd. It's an action/adventure/comedy/monster movie/kung fu/ghost story/western that hits the ground running and leaves the viewer working to keep up. It's got it all: swordfights, damsels, demons, gunfights, standoffs, high-flying kung fu, Chinese black magic and enough witty banter to keep things light and comical.
The story centers around loudmouth truck driver Jack Burton (Kurt Russell). After delivering his freight in San Francisco, Jack meets his old friend, Wang Chi, and drives him to the airport to meet his fiancée, arriving from China. Also awaiting the flight are the Lords of Death, a street gang operating under the rarely seen David Lo Pan in Chinatown. A scuffle ensues, and in the confusion, the Lords of Death make off with Wang's bride-to-be, with Jack and Wang hot on their heels. The chase leads our heroes deep beneath Chinatown, in the criminal underworld ruled by the mysterious Lo Pan - a 200 year-old sorcerer cursed to walk the earth until he marries and sacrifices a woman with green eyes. When they find out Lo Pan seeks to marry Wang's fiancée, so begins a daring adventure into the murky waters of Lo Pan's domain.
Carpenter keeps the action moving from the start, leaving the movie jam-packed with high-flying martial arts, gunplay, and snappy dialogue. When there's no physical action onscreen, the audience is preoccupied with the mystery surrounding just what Lo Pan actually is (and Burton's comic inability to comprehend this information).
But if there is a fulcrum on which everything in Big Trouble in Little China rests, it is the film's main character. Because Jack Burton has never seen anything that's going on in the movie (nor heard any of the myths), he is the audience's guide through the adventure. He shares our reactions, and grounds the movie in some kind of reality we can work with. Burton is also Carpenter's stab at the quintessential 80s action hero. He's the mulleted meathead, who's quick with the one-liners (and this is Carpenter's one-liner factory if ever there was one) , and charming with the ladies (or at least he thinks he is).
But what separates Burton from the Stallone, Norris, and Seagal characters of the decade ... well, to put it simply, he's an idiot. He's a bit of a braggart, brash, and overly self-confident, and he would fit the Indiana Jones mold if he actually got things done. But he's more talk than action - all swagger, no substance, as it were (one gets the sense that Russell's playing Burton as an inept John Wayne, which only makes things funnier, in this case). And as the movie gets going, it becomes evident that the Jack and Wang roles are reversed; Wang becomes the ever capable leading man, while Jack ends up becoming the trusty sidekick (he just doesn't know it). What kind of action hero tosses his knife across the room after jerking it out of its sheath, and then spends the entire fight looking for the weapon while his partner does all the work? Or knocks himself out with falling rubble after shooting his gun in the air (and again, leaving Wang to all the fighting)? For me, Jack Burton is Carpenter's most entertaining character to date; you just end up sitting there wide-eyed at this guy's shenanigans.
Big Trouble in Little China is the very definition of a cult film. Virtually ignored upon release in 1986, the movie rightfully gained a cult following on home video (which was really a godsend in the 80s). I guess it's just one of those movies where you either get it, or you don't. In my opinion, I think Big Trouble in Little China stands as Carpenter's most entertaining work. It's escapism in its purest form, from back in the days when escapism ruled the multiplexes.
9.5/10
Monday, January 4, 2010
Starman (1984)
Part IV in a John Carpenter film quest.
Starring: Jeff Bridges, Karen Allen
Written by: Bruce A. Evans, Raynold Gideon
Directed by: John Carpenter
John Carpenter's Starman is often referred to as a mature E.T., or "E.T. for adults", if you will (an all-too-common comparison). And indeed the movie does appear to be an about-face from his other work (thus far). There's a distinct optimism at work here, as this is definitely a benign, romantic movie. And I don't mean that in a negative light, but if you take the pessimism of Escape from New York, this movie is a complete opposite. It's almost as if Carpenter's showing the other side of himself. It's a John Carpenter love story (and all that that implies). I've heard people say this "isn't really a Carpenter movie". And while it is different in tone, it definitely does have a few Carpenter touches (think the noted disdain he has for authority).
Karen Allen plays Jenny Hayden, a woman stranded in life without hope or faith. She still hasn't gotten over the death of her husband, Scott (Jeff Bridges), from an accident a few months back. Her nights are spent reliving the happy days with home movies and wine, before retiring to a fitful rest to endure the next day. It is on one of these nights that an alien visitor lands in her rural Wisconsin home. The visitor came in response to the Voyager II probe (launched back in 1977 with a message of peace and invitation), and was knocked off-course by the armed welcoming party of the U.S. government (you can tell who the bad guys are, already). Inside Jenny's house, the visitor (thus far, a pinpoint of blue light) finds a lock of Scott's hair, and proceeds to clone an earthly vessel, in his exact image. The visitor explains that he can't survive for long in Earth's atmosphere, and must reach the Great Meteor Crater in Winslow, Arizona in three days' time. Feeling sympathy for the alien stranger, Jenny agrees accompany him on the road trip.
No doubt there are E.T. comparisons to be made with this sci-fi setup. But one of the remarkable things about Starman is that Carpenter pulls a 180 and handles it like a road movie (think Capra's It Happened One Night). Both Starman and Jenny start out as two opposing characters, who eventually begin to grow closer and even love each other. As they draw further away from Wisconsin, Jenny learns more about Starman's people and life on his home planet.
The movie hinges on the strength of the lead actors. And this is certainly one of Bridges' finest performances (completely deserving of his Oscar nomination for this movie). There is no Jeff Bridges here - only Starman. We truly believe he is a visitor, grappling with the insane customs and people of this planet; someone who is pure at heart, and lacking the savagery of the people of Earth. And Karen Allen skillfully plays the emotionally vulnerable (and resonant) widow, forced to interact with an alien being in the guise of her dead husband; as if to ask, "can you imagine the pain that woman is going through?" - but it's all there in her performance. Allen was in top form in this movie.
The comparisons to E.T. are evident, though Carpenter steers clear of the cliches that audiences will see in the tasteless knockoff, Mac and Me (1988). Starman, like E.T. is a benevolent visitor; he received our message and he's here out of curiosity. And there's a broken home (in a sense) in both movies. With Elliott's family, there's the void left by his missing father. For Jenny, it's the emptiness in her life left by her dead husband. And both alien visitors are pursued by the U.S. government (along with friendly scientists Peter Coyote, and Charles Martin Smith), providing the looming threat of capture.
But Carpenter makes it clear this isn't just another E.T. knockoff. He makes Starman his own, and as a result, produces the warmest and most heartening movie of his career.
8.0/10
Starring: Jeff Bridges, Karen Allen
Written by: Bruce A. Evans, Raynold Gideon
Directed by: John Carpenter
John Carpenter's Starman is often referred to as a mature E.T., or "E.T. for adults", if you will (an all-too-common comparison). And indeed the movie does appear to be an about-face from his other work (thus far). There's a distinct optimism at work here, as this is definitely a benign, romantic movie. And I don't mean that in a negative light, but if you take the pessimism of Escape from New York, this movie is a complete opposite. It's almost as if Carpenter's showing the other side of himself. It's a John Carpenter love story (and all that that implies). I've heard people say this "isn't really a Carpenter movie". And while it is different in tone, it definitely does have a few Carpenter touches (think the noted disdain he has for authority).
Karen Allen plays Jenny Hayden, a woman stranded in life without hope or faith. She still hasn't gotten over the death of her husband, Scott (Jeff Bridges), from an accident a few months back. Her nights are spent reliving the happy days with home movies and wine, before retiring to a fitful rest to endure the next day. It is on one of these nights that an alien visitor lands in her rural Wisconsin home. The visitor came in response to the Voyager II probe (launched back in 1977 with a message of peace and invitation), and was knocked off-course by the armed welcoming party of the U.S. government (you can tell who the bad guys are, already). Inside Jenny's house, the visitor (thus far, a pinpoint of blue light) finds a lock of Scott's hair, and proceeds to clone an earthly vessel, in his exact image. The visitor explains that he can't survive for long in Earth's atmosphere, and must reach the Great Meteor Crater in Winslow, Arizona in three days' time. Feeling sympathy for the alien stranger, Jenny agrees accompany him on the road trip.
No doubt there are E.T. comparisons to be made with this sci-fi setup. But one of the remarkable things about Starman is that Carpenter pulls a 180 and handles it like a road movie (think Capra's It Happened One Night). Both Starman and Jenny start out as two opposing characters, who eventually begin to grow closer and even love each other. As they draw further away from Wisconsin, Jenny learns more about Starman's people and life on his home planet.
The movie hinges on the strength of the lead actors. And this is certainly one of Bridges' finest performances (completely deserving of his Oscar nomination for this movie). There is no Jeff Bridges here - only Starman. We truly believe he is a visitor, grappling with the insane customs and people of this planet; someone who is pure at heart, and lacking the savagery of the people of Earth. And Karen Allen skillfully plays the emotionally vulnerable (and resonant) widow, forced to interact with an alien being in the guise of her dead husband; as if to ask, "can you imagine the pain that woman is going through?" - but it's all there in her performance. Allen was in top form in this movie.
The comparisons to E.T. are evident, though Carpenter steers clear of the cliches that audiences will see in the tasteless knockoff, Mac and Me (1988). Starman, like E.T. is a benevolent visitor; he received our message and he's here out of curiosity. And there's a broken home (in a sense) in both movies. With Elliott's family, there's the void left by his missing father. For Jenny, it's the emptiness in her life left by her dead husband. And both alien visitors are pursued by the U.S. government (along with friendly scientists Peter Coyote, and Charles Martin Smith), providing the looming threat of capture.
But Carpenter makes it clear this isn't just another E.T. knockoff. He makes Starman his own, and as a result, produces the warmest and most heartening movie of his career.
8.0/10
Subscribe to:
Posts (Atom)