A_Roode
Joined Jun 2005
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Reviews75
A_Roode's rating
I love the interview with Lorenzo Semple Jnr, screenwriter for 'Flash Gordon,' when he suggests that the film would have been a big hit if only they'd been able to market it as a movie that would be a cult classic in thirty years. He goes on to explain what the core problem is: A cult film, by definition has fanatical supporters ... just not a lot of them. Those who 'get' the film will keep it alive forever, but Joe Moviegoer won't care if he ever sees it again. And so I turn to 'The Spirit,' a film which has similar qualities to 'Flash Gordon': bad enough to be awesome, tongue firmly in it's cheek and gentle satire in it's hand.
'The Spirit' manages to be wondrous and infuriating. A visual feast, Frank Miller was the perfect choice to bring the film to life. On the other hand, the dialogue is often so cheesy and the characters so over the top that the movie never allows you to be lulled into that wonderful moment of forgetting that you're watching a movie. There isn't a single character in the movie who talks like a real person. They all talk like, well, comic book archetypes: gruff commissioner, megalomaniacal super villain, brilliant evil assistant, sultry femme fatales, loyal and uninteresting love interest, and on and on. Take Samuel L Jackson's character, 'The Octopus' for example. It is a character that Jackson was born to play and Sam throws every ounce of his endlessly entertaining and over the top style into the character. It works and he plays the part brilliantly because he takes ridiculous dialogue and ridiculous material and has wild amounts of fun with it. The cast, by and large, follow his lead. Scarlett Johansson is hilariously withering with her acerbic barbs to The Octopus' clone lackeys, all of whom are played with deadpan wit and verve by Louis Lombardi. It is hard, in fact, not to feel some pity for Gabriel Macht who has to play Bud Abbott to a cast of rollicking, scene-chewing Lou Costellos in an over-acting competition. It all works wonderfully if you're willing to view the film as, uncharitably, being unintentionally funny or more genuinely as a gentle lampoon of comic book films by one of the great figures of the graphic novel genre.
Frank Miller takes 'The Spirit' and has great fun with it. It is quirky at times, ham-handed at times, but lovingly made. A brilliant Noirist, Miller actually has much better luck in 'The Spirit' in moments of levity. The noir angles of this film don't work unless designed as a kind of self-righteous satire. The noir feels forced and dramatic moments are mercilessly skewered by the corny dialogue that a helpless Gabriel Macht delivers with straight-laced determination. 'The Spirit' has the look of 'Sin City' and the heart of 'Flash Gordon.' When it works, it works well, but the film is a terrible mess whenever it is trying to be serious.
So is it worth the ride? I think so if you go in with the proper expectations. There's not really anything new visually if you've seen 'Sin City' or '300' -- both Miller works of course -- but that didn't make them any less interesting to me. Plenty of humour where it may or may not have been planned and the potential to be a cult classic. This is the kind of movie you can best enjoy in the company of friends and a cold six pack. Look for diamonds and you're looking for too much. And if nothing else, Eva Mendes has never looked better on film than she does here. That's got to stand for something, right?
'The Spirit' manages to be wondrous and infuriating. A visual feast, Frank Miller was the perfect choice to bring the film to life. On the other hand, the dialogue is often so cheesy and the characters so over the top that the movie never allows you to be lulled into that wonderful moment of forgetting that you're watching a movie. There isn't a single character in the movie who talks like a real person. They all talk like, well, comic book archetypes: gruff commissioner, megalomaniacal super villain, brilliant evil assistant, sultry femme fatales, loyal and uninteresting love interest, and on and on. Take Samuel L Jackson's character, 'The Octopus' for example. It is a character that Jackson was born to play and Sam throws every ounce of his endlessly entertaining and over the top style into the character. It works and he plays the part brilliantly because he takes ridiculous dialogue and ridiculous material and has wild amounts of fun with it. The cast, by and large, follow his lead. Scarlett Johansson is hilariously withering with her acerbic barbs to The Octopus' clone lackeys, all of whom are played with deadpan wit and verve by Louis Lombardi. It is hard, in fact, not to feel some pity for Gabriel Macht who has to play Bud Abbott to a cast of rollicking, scene-chewing Lou Costellos in an over-acting competition. It all works wonderfully if you're willing to view the film as, uncharitably, being unintentionally funny or more genuinely as a gentle lampoon of comic book films by one of the great figures of the graphic novel genre.
Frank Miller takes 'The Spirit' and has great fun with it. It is quirky at times, ham-handed at times, but lovingly made. A brilliant Noirist, Miller actually has much better luck in 'The Spirit' in moments of levity. The noir angles of this film don't work unless designed as a kind of self-righteous satire. The noir feels forced and dramatic moments are mercilessly skewered by the corny dialogue that a helpless Gabriel Macht delivers with straight-laced determination. 'The Spirit' has the look of 'Sin City' and the heart of 'Flash Gordon.' When it works, it works well, but the film is a terrible mess whenever it is trying to be serious.
So is it worth the ride? I think so if you go in with the proper expectations. There's not really anything new visually if you've seen 'Sin City' or '300' -- both Miller works of course -- but that didn't make them any less interesting to me. Plenty of humour where it may or may not have been planned and the potential to be a cult classic. This is the kind of movie you can best enjoy in the company of friends and a cold six pack. Look for diamonds and you're looking for too much. And if nothing else, Eva Mendes has never looked better on film than she does here. That's got to stand for something, right?
I'm trying to remember the last time I've been so disappointed leaving the movie theatre. 'Max Payne' is a film with two faces. On the one hand it is visually stunning, conceptually great and a feast for the eyes. The art direction, atmosphere and style have so much flair. John Moore conceptual and visual styling is a feast for the eyes. My problem is with the other hand: I need more than just style to look at if I'm going to enjoy a film. I need substance.
All of the excellent visuals and atmosphere in the world can't over-ride one severe problem: 'Max Payne' has a script devoid of the dramatic glue that transforms it from a pastiche of episodes to a flowing story. The movie is so busy being gritty and dark that it forgets to give you characters who you care about. So much time is spent trying to build up the mystery that nothing is spent on character development. The irony is that the film needed to be twenty minutes longer to help fill in some of these connections, but already feels like it runs too long. This is Beau Thorne's first script and I won't pretend to think that it is easy to do an adaptation of anything -- let alone condense hours of a video game into an hour and a half of film. Some of the problems might have been easily solved. As just an example, Max Payne is driven, bitter and solitary. Why not open the film by showing the reason he is this way instead of leaving it until the movie is half done? Brutally edited and paced, 'Max Payne' is a story headed no where and taking forever to get there. The acting isn't bad -- given the material they have to work with -- and there was some relief in watching Beau Bridges chew scenery mercilessly as the movie grinds to it's conclusion. Mark Wahlberg turns in a typical performance and manages to look disappointed that he doesn't get to swear. Chris O'Donnell and Donal Logue are under-used and both Amaury Nolasco and Mila Kunis would have benefited from more screen time and character development. I wish that 'Max Payne' had kept it's Restricted rating. Because I wanted it to be harder edged? Oh no -- an 'R' rating would have kept more people from watching it.
I will say that there were two decent action sequences and I thought they were both pretty decent. There is a good showdown in the office building ... twice. It might even be worth renting the DVD and fast-forwarding your way through a turgid boggy mess in order to see them. Unless you value style over substance though, give 'Max Payne' a pass.
All of the excellent visuals and atmosphere in the world can't over-ride one severe problem: 'Max Payne' has a script devoid of the dramatic glue that transforms it from a pastiche of episodes to a flowing story. The movie is so busy being gritty and dark that it forgets to give you characters who you care about. So much time is spent trying to build up the mystery that nothing is spent on character development. The irony is that the film needed to be twenty minutes longer to help fill in some of these connections, but already feels like it runs too long. This is Beau Thorne's first script and I won't pretend to think that it is easy to do an adaptation of anything -- let alone condense hours of a video game into an hour and a half of film. Some of the problems might have been easily solved. As just an example, Max Payne is driven, bitter and solitary. Why not open the film by showing the reason he is this way instead of leaving it until the movie is half done? Brutally edited and paced, 'Max Payne' is a story headed no where and taking forever to get there. The acting isn't bad -- given the material they have to work with -- and there was some relief in watching Beau Bridges chew scenery mercilessly as the movie grinds to it's conclusion. Mark Wahlberg turns in a typical performance and manages to look disappointed that he doesn't get to swear. Chris O'Donnell and Donal Logue are under-used and both Amaury Nolasco and Mila Kunis would have benefited from more screen time and character development. I wish that 'Max Payne' had kept it's Restricted rating. Because I wanted it to be harder edged? Oh no -- an 'R' rating would have kept more people from watching it.
I will say that there were two decent action sequences and I thought they were both pretty decent. There is a good showdown in the office building ... twice. It might even be worth renting the DVD and fast-forwarding your way through a turgid boggy mess in order to see them. Unless you value style over substance though, give 'Max Payne' a pass.
There must have been comedians in the projection booth the night that some friends and I went to see a family friendly film. These particular friends tend to watch only light-hearted material and get upset for weeks whenever they see horror films or intense thrillers. They were totally unprepared for a 'Quarantine' trailer and it shocked them all so badly that we nearly had to leave and get our money back. Maybe it was because of their strong reaction that my interest in the film has stayed so high for the past several months.
This week I have seen both 'Quarantine' and 'Rec' the film that 'Quarantine' is a remake of. 'Rec' is not without flaws but it is a very solid and chilling horror film. 'Quarantine' is able to expand on several of the strengths in 'Rec' while falling into a few pitfalls of it's own. Both films are about a TV news crew taping a show about what a night in the life of a fireman is like. A seemingly routine call turns out to be something much more and the news crew is trapped in a quickly quarantined building.
Giving credit where it is due, 'Quarantine' kept me on the edge of my seat for most of the movie. It lures you in with a very relaxed opening ten minutes but once you reach the building and the cop in charge asks why the camera crew is there, the whole tone of the movie changes. The fun and games, the light-hearted banter is gone. We only realize how serious it is though when they enter the apartment of an injured old woman. For me the tension starts with the entrance to the apartment and never lets up. Each new segment that the TV crew starts filming holds potential terror. The set design and the lighting are terrific and 'Quarantine' walks a careful tightrope of character action. So often in horror films the audience is yelling with frustration at what characters on the screen are doing because it all goes against common sense. There is a little bit of that early on but 'Quarantine' does a better job of playing to the characters and their panic. Characters die not through naivety or stupidity as much as they do from inevitability and inescapability. The key performance comes from Jennifer Carpenter.
The film's greatest strength and weakness at the same time, Carpenter is the focus of the camera because of her role as the reporter and it isn't an easy part to play. She is solid for the majority of the film but terror essentially overwhelms her with ten minutes to go and she is reduced to a sobbing, shrieking, shivering bowl of jello. Would I or anyone else be any better in the situation that 'Quarantine' creates? Hard for me to say but probably not. The problem is that there were three primary acting choices for her to make in the final ten minutes: she could play it as a hysteric (which she does), she could play it as numbing down her fear like the cameraman does in order to try and escape, or she could have been so overwhelmed by her fear that she becomes a functional catatonic working on autopilot. Carpenter's choice is probably the 'truest' choice for how people would react. That doesn't mean that it is going to make for good drama. Her transformation from confident and outgoing to hysterical jabbering is so jarring that it feels forced instead of real. The camera man keeps telling her to calm down when they've reached a potentially safe room but she is far beyond the calming down stage and well into the years of therapy one instead. I found it to be just too much and actually pulled me out of the horror and towards comedy instead.
'Rec' felt a bit more organic and gritty than 'Quarantine.' The performances are decent in both but you feel less of a connection to the characters in 'Quarantine.' Many are clearly there to serve as fodder with no attempt to seriously develop them. 'Rec' does a much better job, particularly when the reporter interviews each of the buildings residents. The five minutes spent in filming those sequences gave more of a stake to the audience into the well-being of those characters. That never really takes off in 'Quarantine' and I regret that they didn't follow the lead of 'Rec'. One thing that I thought 'Quarantine' did a much better job of was in plot clarity and how they provided information. The clues to the source of what is going on are much more explicit and come very early in the movie. 'Rec' dropped a few hints for the viewer to put together but relies on the final five minutes to give the major clues about patient zero. What patient zero is spreading is clearer in the remake and I thought the clarity benefited the plot. Of course by the time you find out about patient zero, Carpenter's character is beyond being able to help provide the audience with anymore real analytical power. Don't blink or you'll miss everything you need to know.
I give the slight edge to 'Rec', but certainly recommend 'Quarantine' to horror fans. It's problems aren't severe enough to detract from a very decent effort.
This week I have seen both 'Quarantine' and 'Rec' the film that 'Quarantine' is a remake of. 'Rec' is not without flaws but it is a very solid and chilling horror film. 'Quarantine' is able to expand on several of the strengths in 'Rec' while falling into a few pitfalls of it's own. Both films are about a TV news crew taping a show about what a night in the life of a fireman is like. A seemingly routine call turns out to be something much more and the news crew is trapped in a quickly quarantined building.
Giving credit where it is due, 'Quarantine' kept me on the edge of my seat for most of the movie. It lures you in with a very relaxed opening ten minutes but once you reach the building and the cop in charge asks why the camera crew is there, the whole tone of the movie changes. The fun and games, the light-hearted banter is gone. We only realize how serious it is though when they enter the apartment of an injured old woman. For me the tension starts with the entrance to the apartment and never lets up. Each new segment that the TV crew starts filming holds potential terror. The set design and the lighting are terrific and 'Quarantine' walks a careful tightrope of character action. So often in horror films the audience is yelling with frustration at what characters on the screen are doing because it all goes against common sense. There is a little bit of that early on but 'Quarantine' does a better job of playing to the characters and their panic. Characters die not through naivety or stupidity as much as they do from inevitability and inescapability. The key performance comes from Jennifer Carpenter.
The film's greatest strength and weakness at the same time, Carpenter is the focus of the camera because of her role as the reporter and it isn't an easy part to play. She is solid for the majority of the film but terror essentially overwhelms her with ten minutes to go and she is reduced to a sobbing, shrieking, shivering bowl of jello. Would I or anyone else be any better in the situation that 'Quarantine' creates? Hard for me to say but probably not. The problem is that there were three primary acting choices for her to make in the final ten minutes: she could play it as a hysteric (which she does), she could play it as numbing down her fear like the cameraman does in order to try and escape, or she could have been so overwhelmed by her fear that she becomes a functional catatonic working on autopilot. Carpenter's choice is probably the 'truest' choice for how people would react. That doesn't mean that it is going to make for good drama. Her transformation from confident and outgoing to hysterical jabbering is so jarring that it feels forced instead of real. The camera man keeps telling her to calm down when they've reached a potentially safe room but she is far beyond the calming down stage and well into the years of therapy one instead. I found it to be just too much and actually pulled me out of the horror and towards comedy instead.
'Rec' felt a bit more organic and gritty than 'Quarantine.' The performances are decent in both but you feel less of a connection to the characters in 'Quarantine.' Many are clearly there to serve as fodder with no attempt to seriously develop them. 'Rec' does a much better job, particularly when the reporter interviews each of the buildings residents. The five minutes spent in filming those sequences gave more of a stake to the audience into the well-being of those characters. That never really takes off in 'Quarantine' and I regret that they didn't follow the lead of 'Rec'. One thing that I thought 'Quarantine' did a much better job of was in plot clarity and how they provided information. The clues to the source of what is going on are much more explicit and come very early in the movie. 'Rec' dropped a few hints for the viewer to put together but relies on the final five minutes to give the major clues about patient zero. What patient zero is spreading is clearer in the remake and I thought the clarity benefited the plot. Of course by the time you find out about patient zero, Carpenter's character is beyond being able to help provide the audience with anymore real analytical power. Don't blink or you'll miss everything you need to know.
I give the slight edge to 'Rec', but certainly recommend 'Quarantine' to horror fans. It's problems aren't severe enough to detract from a very decent effort.