Showing posts with label paul verhoeven. Show all posts
Showing posts with label paul verhoeven. Show all posts

Thursday, October 16, 2014

Would You Like To Hear More?

OF COURSE YOU WOULD!


There's really never not a good time to talk about Starship Troopers, Paul Verhoeven's masterpiece of satire, action, and vaginal faced brain bugs sucking Patrick Muldoon's innards out of his soap star dreamface.


I bring up the fourth best film of all time (although all-time best use of ex-90210 cast members) not just because it's Friday, but more because you can hear me discuss it with From the Depth's of DVD Hell's great Elwood Jones over at the debut episode of his podcast Mad, Bad, and Downright Strange.  

And that's not all!


My husband and I took a break from watching Jeopardy! and Murder, She Wrote to record a special guest episode of Married With Clickers, one of my favorite film podcasts out on the interwaves. The topic? 

Only one of the most underrated horror comedies of all time. You can head here to hear the episode. While you're there, be sure to check out the other great offerings of horror reviews for the month. 

Hold on tight! One more...


If you haven't been listening to my regular podcast, The Feminine Critique, then our last episode might bring you back in the fold. My partner in crime Christine and I tackled Mike Flanagan's recent WWE produced (???, seriously) hit Oculus. It's a much stronger and deeper film than its marketing may have suggested. We have lots to say on the matter. 

And now, because I love you, I shall exit with a Clancy Brown slideshow:






Yup. That settles everything.

Thursday, June 7, 2012

A Basic Double Feature Instinct




Although I was an unabashed 10-year-old movie buff in 1992, I somehow avoided ever seeing the most controversial wide release of the year. This wouldn’t be so shocking if said film in question wasn’t directed by all-time favorite Danish import.

Despite the blind spot on my cinema brain that was Basic Instinct, my desire to finally watch Sharon Stone uncross her legs had little to do with any real curiosity. No, of course it didn’t. Me being me, I mostly wanted to watch this movie so that I could freely venture into far darker territory: its decade late universally maligned sequel.


One thing at a time:

Basic Instinct: In sexy San Francisco, a blond furiously ice picks her lover to death while riding on to her own orgasm. The detective on the case is none other than Nick, a recovering alcoholic smoker cokehead who’s obviously going to fall back on the bad habits of the elite because he’s played by Michael Douglas, a fine actor who can kind of ONLY play the type of white collar miscreant. Not that there’s anything wrong with that.


The chief suspect is the victim’s steady lover Catherine Tramell, a Berkley educated psychology major who now writes erotic crime fiction. Unless you were raised amongst the Amish the early 1990s, you probably know that Tramell is played by a post-Total Recall/Scissors but pre-Everything Else Sharon Stone as a sex-loving bisexual maybe sociopath who loves Hermes scarves but hates all brands of underwear.


It doesn’t take long for Catherine to take to Nick like my cat takes to moths, toying with his life and eating one wing at a time before becoming confused by the fact that it doesn’t actually taste good. Okay, maybe that’s Joplin and not Catherine, but the point is, Catherine starts worming her way into Nick’s life, people in Nick’s life start dying, fingers are pointed, genitalia is fingered, and we get to see what perennial brunette Jeanne Tripplehorn might look like as a blond.


Basic Instinct was quite the hit in 1992, a surprise blockbuster that sparked as many dinner party conversations as it did parodies. Viewed 20 years after its debut, the film doesn’t live up to its “Can you believe that!” hype, yet hasn’t necessarily aged terribly. The controversy regarding its portrayal of homosexual and bisexual characters as murderous villains seems petty today. Yes, all of its non-straight characters might indeed be killers, but that's because EVERYONE in Basic Instinct has blood on their hands. There's nothing homophobic about; it's just that in 1992, so few films featured gay themes that any high profile hit was grounds for praise or protest.


But I digress. Basic Instinct is what it is: a tacky noir that tries a little too hard to be sexy, but still emerges as a trashy mildly good time nonetheless. That’s mostly due to the fact that director Paul Verhoeven knows how to have fun behind the camera, and while her later career has its roadblocks, Sharon Stone absolutely nails the role of a sex-crazed sociopath who never met a man (or woman) she couldn’t manipulate.


Basicker Instinct: Flash forward an inappropriate amount of years to 2008, when Sharon Stone apparently REALLY REALLY REALLY wanted to revive the role that made her famous. Of course, a character isn’t all it takes to make a sequel. There’s the tricky matter of a script, director, and leading man…none of which seems to be overly valued in Basic Instinct 2.

The film opens in cold, clinical London as Catherine, still blond and horny, crashes a luxury car into the river while her drugged out soccer star boyfriend du jour pleasures her to his death. Detective Angry David Thewlis suspects her immediately, but court ordered psychiatrist Michael considers her only a risk to herself.


And of course, his sanity and free life.

Just like Michael Douglas’ unlucky Nick, Michael gets ensnared in his new patient’s web of games.  It doesn’t take more than a few steamy sessions for his ex-wife’s sleazy lover who was—whaddya know!—writing an expose on Michael’s past to turn up strangled, for Michael’s past oversights as an irresponsible shrink to come to light, and for Catherine to insinuate herself in everything from a professional dinner party to his ex-wife’s bed.

In Basic Instinct, it was hard to keep your eyes off of Sharon Stone’s Catherine. The actress took hold of the character with just the right balance of open of sexiness and confidence that you could understand why men and women fell into her trap like lemmings.


In Basic Instinct 2, it’s STILL hard to keep your eyes off of Stone, but that’s more to do with wondering just how many virgins spilled their blood to keep her skin as firm as it was when Bill Clinton was on his first presidential campaign trail. Stone LOOKS amazing and can still wear a barely-there little black dress like a superstar, but her 21st century Catherine is no longer sexy: she’s just annoying.


“So. Is this where we’re gonna DO IT?” she purrs to Michael in his psychiatrist’s office with all the aggression of a kitten in anger management. Perhaps it was because she missed her old pal Paul Verhoeven, but Stone seems to channel Elizabeth Berkley’s Showgirls performance as inspiration for her over-the-top Catherine. What came off as sexy and daring in 1992 just feels forced and sad two decades later.


It doesn’t help that Catherine’s target is a pasty loaf of stale British scone bread. Actor David Morrissey doesn’t get a whole lot to work with but he also never finds anything extra to give. A scene that echoes Michael Douglas’ rough-sex rape-not-rape-cause-she-kinda-likes-it moment with Tripplehorn offers none of the shocking sexiness of the prior film. In this case, Michael brings home a colleague to have old fashioned missionary sex with her…until he spots Catherine’s picture on her latest book jacket sitting on his nightstand and then…and then…TURNS HER OVER TO TAKE HER FROM BEHIND.


I know, we should all be blushing. It’s positively INSANE.

And that’s the limit of Basic Instinct 2: Risk Addiction’s risk addiction. Yes, there’s an orgy, but somehow, it’s boring. I never thought I’d have to use ‘orgy’ and ‘boring’ in the same sentence twice in one year, but thanks to this and the otherwise good Night of the Scarecrow, it seems I checked one thing off my bucket list.

Directed by Rob Roy maker Michael Caton-Jones, Basic Instinct 2 could have been something truly memorable in a starstruck trashtacular Wild Things vein. Instead, it has this false confidence that it’s the sexiest thing of all time because its lead gets naked and constantly talks about it. But as Showgirls proved in such a more entertaining fashion, sex isn’t sexy when it’s shoved in your face.


Had Basic Instinct 2 understood that, it could have either a) finessed its dialogue or, more wishfully b) understood that it had the potential to be a camp classic. As it stands, I don’t see anyone hosting a midnight screening or dressing up like Catherine Tramell 2 for costume parties anytime soon. It’s just not fun enough.


High Notes
The first film features a pretty nifty car chase through a fairly crowded country road, the kind of car action that could actually HAPPEN behind the wheel of normal (if risk-loving) human beings

In 2, there’s one shiny spot and that’s Charlotte Rampling’s wise therapist. Without ever hiking up her designer skirt, Rampling is somehow more alluring and fascinating than a full frontal Sharon Stone


Low Notes
Aside from everything else about 2008 Catherine Tramall, the fact that the woman can’t read a No Smoking sign is just obnoxious. Step into MY office and light that cigarette bitch. I dare you.


Lessons Learned
Playing games goes with a degree in psychology

London streets are completely empty after dark


As you approach a very tense man who’s waving a gun with crazy in his eyes, try to avoid reaching into your pocket, even if you just want to return his keys or check for your parking ticket. Some gun-waving lunatics might get ideas that you don’t have time to disprove

Coke and Pepsi aren’t the same things


When your boyfriend is found murdered, the smartest thing you can possibly do is to call your ex-husband with a grudge before the police. Seriously, why would you even think about doing things the other way around?

The Winning Line
“Even Oedipus didn’t see his mother coming.”
I’m sure this is supposed to sound erotic. Really it just leaves me feeling bad for Jocasta’s sex life

Rent/Bury/Buy
Basic Instinct is a recommend, simply because of its place in pop culture. The DVD is loaded with extras, including making-of featurettes and an enjoyable commentary from the always fun Verhoeven and his Director of Photography, future Twister and Speed director Jan De Bont. Its sequel is ALSO heavy on the special features, but suffering through the main feature is a taller order than you might think. I ADORE bad movies, but Basic Instinct 2 commits the ultimate sin of awful cinema: it’s boring.

Sunday, May 15, 2011

Subway Swap!


If there’s one day I don’t look forward to every month, it’s paying an ungodly $104 for my monthly Metrocard. Thankfully, one day I DO look forward to is trading movie recommendations with T.L. Bugg over at The Lightning Bug’s Lair and gloriously enough, May counteracts my MTA gripes with a suitably themed subway swap!
Over at The Lair, expect to find what I except to be the Zach’s glowing review of one of my recent favorites, 2009’s Canadian underground evil cult horror, End of the Line. For my part, Zach sent me the conveniently Watch Instantly 1985 French hit, Luc Besson’s Subway.
Theme!
Quick Plot: Um...let me try:
Christopher Lambert is Fred, a tuxedoed drifter of sorts who has stolen some super secret documents from a gangster’s bedazzled wife Helena (the gorgeous Isabelle Adjani) and is now hiding out underground where he meets a bevy of oddballs that includes a rollerskating purse snatcher, greasy flower man, talented body builder named Big Billy and a medium-length haired Jean Reno.

Now you might be thinking to yourself, ‘that’s not so hard a summary.’ In many ways, Subway is a simple film about a boy who loves a girl and the wacky world in which he tries to woo her. 

Except it’s not at all, because you don’t really know anything about Helena and Fred’s relationship until an hour into the film. Prior to that, you’re left wondering how they actually know each other, what mysterious documents he know holds as blackmail (if memory serves, I don’t think we ever actually find out) and just how giant this underground community of non-CHUD metro dwellers can possibly be. Mixed in is a sarcastic police investigator who much like Reno’s tragic turn in 1998’s Godzilla, just can’t get a good cup of coffee.
Subway is, based on extensive Wikipedia browsing, part of the European ‘80s Cinema du look movement. No, this has nothing to do with Lars Von Trier’s Dogme 95 let’s-hurt-you,-you-softie-moviegoers pledge. Cinema du look seems to pretty much be a plan to blast style as high above substance as possible, focusing on slick visuals and pop culture as related by a bunch of alienated young people that have no sense of depth or politics. I think.

Depending on your cinematic taste, you might be thinking such a film style is either as brilliant a combo as peanut butter and banana or as loathsome as putting butter on your pancakes (I don’t understand why anyone would do this). I suppose I appreciate both--even if I still will throw my hot coffee at any waitress who brings me a butter soaked dish of pancakes. On one hand, why shouldn’t a talented filmmaker give in to the joys of camerawork and present his/her audience with something that takes advantage of visual possibilities and is, I assume, easily pleasing to a modern film-going public? On the other hand, allow me to introduce my old often introduced friend Paul Verhoeven, a director who can magically produce films far more fun AND logical than Subway but that still contain a surprisingly dense, always reverent amount of smart satire.
See, I guess what I might be saying is that Subway is fun and fresh film. But I think it would have been far better were it directed by Paul Verhoeven.

I liked Subway. I did. It was fun in a where-the-brie-is-this-going kind of way. But also a tad empty, one content with presenting types rather than characters and stuff rather than story. For 90 minutes, that’s more than fine. It’s just not fantastic.
High Points
About 3/4 into the film, Subway almost pauses for an absolutely odd and beautiful little singalong. Yes it stops what is mostly a bouncy and light action film, but it’s rather wonderful
Isabelle Adjani is a superb actress, but let’s all admit that in her first scene, it’s really the 9 lb. earrings that do the heavy emoting. Because I doubt they got any work after this film, a moment of salute:
Low Points
If Wikipedia is to be believed (and they always are, right?), the only readily available version of Subway features a dreadfully dubbed audio track wherein for whatever reason, Christopher Lambert provides his own Frenchish vocals and everybody else sounds like Peter Falk
Lessons Learned
High mohawks can lead to high levels of sassiness

Nothing says ‘impromptu subway concert’ quite so well as boy scout uniforms
If planning on speeding through Paris in a car chase to escape murderous/carsick goons, always be sure to pack the right high energy mixed tape

Rent/Bury/Buy
I definitely recommend Subway, as it’s unique, enjoyable, and a piece of cinema footnotes in recent theory history. As a Netflix stream, it’s a more than ideal way to pass some time with surprise. No, I didn’t want to marry it and have its chic mohawked children, but it’s an easy rental for a light-hearted and bizarre time.

For some darker days underground, head on over to The Lightning Bug’s Lair for Zach’s take on End of the Line.

Friday, April 1, 2011

Your Public Service Announcement For a Fine Friday

Thrust it...



...on over to The Bloodsprayer.com for something very, very very, very special.

Hurry folks. Get there before you have to sell it!

Wednesday, August 25, 2010

Brain Bugs! Strippers! Cheetahs! Ninjas! & Muppets!



It is my belief that the world can never have enough conversations about the cinematic canon of Paul Verhoeven. Yes, I’m constantly saddened by the decreasing popularity of drive-in movie theaters, library cards, English grammar, and international peace, but really, all those problems would be solved if people just spent more time watching and talking about Verhoeven movies.
But where, you cry, can I find such audio treasures? Well, this neat little trend known as the Internet is proving itself to be quite the resource, as this week, I bring you not just one but two free podcasts covering some of the funnest films of all time.


First up is Girls On Film Radio, a biweekly(ish) roundtable where myself and a few ladies headed by Rach of RachOnFIlm(.blogspot.com) engage in meaty film discussion about nothing less than the best bug squishing cinema of all time, Starship Troopers. Also, we cover the Shaw Brothers’ 5 Element Ninjas (aka Chinese Super Ninjas) which somehow leads me to quote The Muppets Take Manhattan. There’s also talk about the horrors of bra shopping, proving that we’re the most well-rounded assortment of females you’re likely to find watching action cinema.


Meanwhile, those looking for more audio boob talk can head to Chinstroker vs. Punter, a 100 plus episode and running film podcast hosted by two lovely British chaps, Mike and Paul. For their 110th episode, they put aside the pains of a Revolutionary defeat to host my presence on a Showgirls extravaganza, Ver-sase and denim fringe prominently displayed. It’s a great conversation with two fantastic pod presences and once again, it somehow leads me to cite Kermit’s New York City adventures.

Don't ask. Just listen.

Friday, April 23, 2010

Space: The Jan Brady of Earth Day




Oh Earth Day huh? Guess what-I LIVE on the earth. Every day.

What about Mars? Jupiter? Naboo? Or those shiny high-tech ships floating in between? 

In honor of all those masses of matter not acknowledged by 24 hours in spring, I give you a few choice options for genre films not bound to the third planet from the...


Sunshine


Danny Boyle’s true masterpiece, a polarizing mashup of 2001 and Halloween, is a visual vacation that poses rich questions about science, faith, morality, and just how powerful a fantastic musical score can be. Straight sci-fi fans typically rip on the Event Horizon-ish final act, but it’s a natural extension of the sun-as-false-god themes that begin the opening scene. Then again, since the main plot surrounds saving a certain water-based planet, perhaps this film doesn’t belong on the list at all.

Starship Troopers


There aren't really enough words in the English language that properly express the joy that can be found in Paul Verhoeven's original 1997 satirical sci-fi thriller, so it's fitting that most of the film takes place in another galaxy (where I'm sure another mother tongue can add to the vocabulary). Based on this series (originally envisioned by controversial-lite Robert Heinlein) of great gore, 90210esque romance, and cutting satire, Earth may be a far prettier planet than what’s found in the outer ring, but it’s also filled with fascism, genocidal militarism, and Denise Richards. I’ll take the bug planet.

Jason X


Fans of the franchise are deeply divided over the tenth outing of Mr. Voorhess, set 450 years in the future and filmed on the cheap in Canada (not quite as exotic as space, but with better pancakes). Personally, I can't get enough of a face-dunk into liquid nitrogen, a David Cronenberg cameo, tight-in-all-the-wrong-places space uniforms (for the ladies only, natch) and the general spirit of low rent cheese dripping off every bargain priced reel. 

Alien(s)


The grandfather (well, more appropriately, grandmother) of modern sci-fi horror, the first two films from this franchise make a fine case for moving off-planet, if only to experience better movies.

Event Horizon


This surprisingly atmospheric debut of Paul “Not Thomas” Anderson, Event Horizon mixed the cold space castaway mood of Alien with a good old fashioned Nightmare on Elm Street dreamy slasher batter. Infamously edited by a baffled studio, Event Horizon has survived twelve years as a mini-fan favorite, a bloody sci-fi that plays with wormholes, hell, and gravity. Memorable moments include Jack Noseworthy’s nose worthy nosebleed and glimpses of carnal orgies not quite touched upon in Apollo 13. Ever wonder why you didn’t get that Oscar, Ron Howard?

Moon


Much like Sunshine, Duncan Bowie’s 2009 film doesn’t really have a home base in any strict genre. As a scientific premise mixed with horrific possibilities and striking moral drama, Moon tells the tale of an astronaut (played insanely well by Sam Rockwell) living alone 239,592 miles from earth (who needs it). To say more borders on immediate spoiler territory, but for lunar cinema that disturbs on an intelligent (and very human) level, head to the Moon

Leprechaun 4: In Space


Somewhat inevitable and sadly disappointing, this fourth entry into the Leprechaun saga never quite finds its inner chest burster. Still, you can’t go totally wrong with the spirit of Warwick Davis being transferred through urine and er, other bodily fluids, especially when light sabers are involved.