Category Archives: adventure

The A-Team

Joe Carnahan’s ‘re-imagining’ of the ’80s TV series keeps enough of the original to connect with the built-in audience and adds enough smarts to justify the big screen leap. This movie, for me, epitomizes the mindless summer action comedy with its combination of nonsensical conspiracy and improbable explosions–like the parachuting tank fighting off air force drone fighters–though never reaching the brilliance of Last Action Hero or True Lies.

Like many of the recent action hero/graphic novel movie adaptions this is an origin story: How did the A-Team come together and why are they fugitives? Which, by the way, the TV series never covered so we’re on pretty safe ground.

Acting: Bradley Cooper is turning out to be a surprisingly good romantic/comedy leading man, Liam Neeson is, well, a past master, mixed martial artist Quinton Jackson is fine in the quartet’s easiest role and Sharlto Copley shows his District 9 performance was not down to the director. Jessica Biel is wasted as the eye candy since she never really gets out of a baggy uniform, Brian Bloom (the evil private military contractor) and Maury Sterling (the first CIA agent called Lynch) chew up the villain roles and Gerald McRaney is, well, workman-like as the A-Team’s nominal commander.

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No Country for Old Men

Seriously, how did this win the Best Picture, Adapted Screenplay and Director of 2007? Maybe there were subliminal messages embedded in the theatrical or screener version that I missed watching on DVD. The only other reasons I can think of are along the lines of technical excellence, the combination of cast and source material or just that this year was the Coen brothers’ turn. Oscars and movie critics, go figure.

I expect most readers are aware that No Country for Old Men is a period piece (although 1980 is a fairly recent period) about what happens to a West Texas welder (Josh Brolin) after he finds a half dozen dead drug dealers whose merchandise and cash was somehow left behind and leaves the powder but takes off with the $2 million in $100 bills.

On Llewelyn Moss’s trail are sociopath mob muscle Anton Chigurt (Javier Bardem with the modified Dorothy Hamill wedge, won Best Supporting Actor) and nihilistic sheriff Ed Tom Bell (Tommy Lee Jones, who is at last growing into his wrinkles). Moss has no illusions, as soon as he gets back to their rundown trailer home he sends his pretty little wife (Kelly Macdonald) off to her momma and lights out himself. The mob soon realizes Chigurt is not coming back with their cash, should he get to it first, and dispatch several other hunters to find Moss, including a very mellow hitter played by Woody Harrelson.

Frankly, and the Big Guy, who watched with me, seems to agree, this is a strange and bad cinematic expression of Existentialism. Despite the extreme action that occurs none of the characters–at least none of the male characters–feel the need to change expression or body language much.

My take is that the weight of the world lay so heavy on these men that non-essential movement cost too much. Events, good or bad, happen and life goes on and, well, one day you die; sooner, later, everything is of a sameness and none matter.

Of course that raises the question of why any of these men bother. Whether the things that happen to us and around us matter after today or not is a question of import but not really why I watch movies. Exploring big questions is fine–The Wire and, judging from the first two episodes, the new John Adams miniseries do it–but I still expect to be entertained or elevated and Joel and Ethan Coen simply didn’t get close to making that happen.

not recommended

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Legends of the Fall

This Brad Pitt vehicle seems likely to have been greenlit in the wake of Kevin Costner’s stunning Dances With Wolves. Aiming for a similar epic Western revisionist anti-hero result and adding the burgeoning star power of Brad Pitt backed with Anthony Hopkins as well as the fresh beauty of Julia Ormond, the execs at Columbia surely expected similar huge grosses and perhaps a few golden statuettes of their own.

Sadly Legends of the Fall (1994) was not in the same class as its model. Director Ed Zwick, still mainly known at this point for the hit TV series thirtysomething, was a bit too loose with his focus. Pitt’s Tristan had to contend with his father (Hopkins), compete with his two brothers (Aidan Quinn and Henry Thomas) for Ormand’s heart and disappears for a huge chunk of the second act after finding himself unable to deal with his feelings of responsibility for a tragedy that couldn’t, really, have been down to him at all.

This gets mixmastered by frequent narrations voiced by a native American elder and family friend (Gordon Tootoosis). Frankly, a movie that needs this much help explaining the on-screen action probably should have gone back to scriptwriters Susan Shilliday and Bill Witliff for another draft.

The acting is strong enough, though Quinn as usual does little for me, and the wide open territories in Montana where theĀ  Ludlow clan have a ranch, the film’s primary setting, is awesome; that John Toll took the 1995 Oscar for Best Cinematography seem reasonable. Yet I wonder how much better Legends might have been if the younger brother and related subplots had been edited out.

recommended

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The Princess Bride

Though some consider this 1987 historical comedy a classic, I’d never seen the attraction. My mistake, director Rob Reiner (just off the very different Stand By Me) and writer William Goldman (Butch Cassidy and the Sundance Kid, The Stepford Wives, All the President’s Men) did a really good job with a very small budget; Cary Elwes, Robin Wright, Mandy Patinkin, Andre the Giant, Chris Sarandon, Christopher Guest and Wallace Shawn star.

The Princess Bride is a semi-fantasy tale of love interrupted. Elwes is a farmboy named Westley on a farm where Buttercup (Wright) lives and they fall in love as they grow up. Westley leaves to make money for them to get married on, only to be captured by the dread pirate Roberts and with Buttercup and everyone else assuming he’s dead since the pirate never leaves anyone alive.

Five years pass and Buttercup has captured the heart of Prince Humperdinck (Sarandon). Just weeks before their nuptials, she’s kidnapped by three men (Shawn, Patinkin and Andre) who plan to kill her at the border of the prince’s rival kingdom. Westley has returned just as they take her away and races to save his true love, disguised as the dread pirate Roberts.

Honestly I expected more of a fantasy but with one small magical exception and a few pseudo-anachronisms this is just sort of medieval. For much of the movie no one (except the viewer) knows that Roberts is Westley but he’s smooth, daring and near enough gallant to win Buttercup’s affection anyway. Sarandon’s Price is obtuse and obnoxious, which is just what the movie needs; Shawn’s Vizzini, who features more early on, is the same character but smaller.

recommended

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Curse of the Golden Flower (Man cheng jin dai huang jin jia)

Dazzling visuals give this transposed Greek tragedy an epic feel but in the end Curse of the Golden Flower is a tale of betrayal and revenge inside a single family. Chow Yun Fat is the father and Li Gong the mother of the two younger sons–though she appears far too young to be the mother of the older of her boys, well, it is a movie.

Set 1100 years ago during the T’ang Dynasty in China, an ambitious soldier has completed his rise to power and consolidated control of the empire. The Empress, daughter of the ruler of a neighboring kingdom, has reached the end of her usefulness. His three sons are all grown but Wan, the oldest, is a weakling, Yu, the youngest, a bit mad and Jai, the middle, cannot bear the way his father has betrayed his mother.

The annual Chrysanthemum festival is drawing near, an event with special significance for the family. Not only is it the day the Emperor chooses to celebrate the values of his monarchy, it is also the anniversary of the death of his first wife, his eldest son’s mother. Further, the Empress has found out that her husband has added a poison to her daily medicine, a concoction of his own composition.

To celebrate, then, the Empress has arranged that at the opening of this year’s festival a coup will be staged; she will be rid of her disloyal husband and the son of his first wife. This is a royal soaper so in addition, Crown Prince Wan is having an affair with the lovely daughter of the Imperial Doctor and she and her father are the ones adding the poison to the Empress’ medicine–and the wife of the Imperial Doctor is the person who told her of it.

Writer/director Yimou Zhang (House of Flying Daggers, Hero) continues to use the screen as a vast movie canvas, swaths of brilliant color always in motion. Golden Flower is played out on the huge stage of the Forbidden City in Beijing and the coup attempt involves, literally, thousands of soldiers between the two sides. One army is dressed all in gold, the other in steel, and despite the numbers a great deal of stealth is involved. The palace interiors dwarf the cast, the walls and doors huge blocks of fabrics, and the costumes, especially of the royal family, massive affairs that somehow do not restrict movement.

recommended

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Tobruk

In 1942 the German army in North Africa led by Field Marshall Rommel was kicking Allied booty, to say the least, and so the Western powers decided to try a sleight of hand approach to cutting Rommel’s attack capability by destroying his fuel depot. The storage tanks were deep in German territory, in the heavily defended Libyan port city of Tobruk, and so previous direct assaults failed.

Tobruck is the story of the mission that worked. A force that combined British ground troops with a special squad of German Jews who escaped Hitler, along with an American oil engineer with deep knowledge of the territory, were tasked with driving overland across the desert and bluffing through to the heavy guns defending the coast. The Jewish troops were all native German speakers, of course, and by wearing Nazi uniforms expected little interference.

If the mission went strictly as planned there’d hardly be material for a movie and there are several episodes that come up. Bunkering down for the first or second night in a wadi, they’re able to hide from an Italian patrol and then trick the Italians into thinking they’ve been attacked by a German squad coming from the other direction. And vice versa and so on.

Then the company takes possession of two German spies, an apparently English father and daughter, who think they’ve found safety as the Jewish troops play their parts as real German troops in their presence. Those heroes harbor a double agent, who sends the spies off to a hidden phone, though the ruse is uncovered and the pair found before any harm’s done to the mission.

Finally, after nearly an hour of screen time, the surviving troops reach Tobruk and make their way to the big guns. The mole has done the necessary, unfortunately, and the Germans inflict heavy casualties, averting the ground invasion planned to coincide with their effort. The Jews die valiantly and the American destroys the fuel dumps, and is the only one (along with his two Brit support troops) to get out alive.

Rock Hudson is the American, George Peppard, affecting a ridiculous accent, is the leader of the Jewish squad and the two key English soliders are played by stereotypical Brit actors, Nigel Green and Jack Watson. I don’t use the term derogatively but that if you thought of a WWII British colonel and sergeant major these two are exactly who you’d picture.

Arthur Hiller directed from Leo Gordon’s script (Gordon also plays Peppard’s sergeant) and mainly I’d say Tobruk is a serviceable war picture. Good, keeps the tension increasing, okay acting yet never gets all that exciting. As one of the IMDB commentors wrote, the movie seems to be stuck trying to create a parallel theme comparing the explicit antisemitism of the British officers with the Nazi’s extermination program.

recommended

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The Prestige

In one of those strange Hollywood coincidences that looked like a game of chicken both sides were determined to not to lose and so both went over the cliff still in the car, two movies about magicians and their loves came out within weeks of each other last fall. One was The Illusionist, which I wrote up a month ago, starring Edward Norton and Joaquin Phoenix fighting over Jessica Biel.

In The Prestige Robert Angier (Hugh Jackman) and Alfred Borden (Christian Bale) fight each other over their magic, not their women (Piper Perabo and Rebecca Hall), but the women get involved in their unfriendly competition nonetheless. Michael Caine has the lead supporting role as a man who creates tricks for magicians and is somewhat of a confidant to Angier and Borden who, early on, meet while working under the tutelage of the same star.

David Bowie is delightful as Nikola Tesla, a real person who was Thomas Edison’s employee, vitcim and primary competitor in the commercial development of electricity. The Prestige is set later in Tesla’s life, after Edison has won the corporate battle; though we never see the Wizard of Menlo Park onscreen, his agents are shown hounding Tesla, forcing him to be constantly on the defensive and on the move, though willing to assist Angier when he travels to wintry Colorado Springs in quest of a copy of a device he believes Tesla built for Borden.

Director Christopher Nolan (Batman Begins, Insomnia, Memento), who co-wrote the snappy, intelligent script with his brother Jonathan from Christopher Priest’s novel, points out right at the beginning that in the world of magic nothing is ever what it seems to be, that the show must be watched carefully and that the performers will go to great lengths to create illusions. This is very useful advice, so I pass it along to you.

recommended

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Assassins

This 1995 movie was not very well regarded when it came out, nor afterwards, but interesting for several reasons and worth catching on cable or on demand:

  • A young Antonio Banderas as the cruel, nasty, ambitious contract killer
  • An unusually subdued, thoughtful Sly Stallone as the older hitman realizing his arsenal’s near empty
  • Julianne Moore is first the two assassins’s target and then the final straw in Sly’s self-realization.
  • The script is the first produced feature written by Andy and Larry Wachowski, who of course went on to make the Matrix trilogy.
  • Richard Donner directed, making this in the middle of a string of four Mel Gibson flicks (Lethal Weapon 3, Maverick, Conspiracy Theory and Lethal Weapon 4). Donner also directed the first two Christopher Reeve Supermans, The Goonies, The Omen and the first two Lethal Weapons.

recommended

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The Proposition

Rocker Nick Cave has turned to writing movies instead of songs and he seems to have a decent hand at it. The Proposition (2006) is an Australian western taking place in the late 19th Century, a time when most of that vast land was barely settled, much less under the rule of law.

Captain Stanley (Ray Winstone), long in the service of His Majesty’s Government, has come Down Under to “civilize this land.” He commands a small police force somewhere in the Outback and his current mission is to capture the Burns brothers, who’ve massacred an entire local family in a particularly gruesome fashion.

Stanley’s already captured the younger two, Charlie (Guy Pearce) and Mike (Richard Wilson), and offers Charlie the chance to save his and Mike’s lives if he’ll bring back the eldest, Arthur(Danny Huston), dead or alive. Stanley and Charlie understand that Arthur is the true villain, the ongoing threat to this nascent culture, so Charlie agrees.

Arthur’s camp is hidden in some desolate, rocky hills, easily defended from any approach, a key reason why the captain isn’t anxious to take on the task himself. However, an elderly bounty hunter (played by John Hurt) is willing to risk it; he’s quite drunk when Charlie runs into him at a way station, alone, happy to share stories over booze.

Back in town, a government official called Fletcher (David Wenham) shows up, determined to punish all three brothers for the massacre (and unstated previous atrocities). He’s nonplussed by Captain Stanley’s deal and orders that Mike get 100 lashes first thing in the morning; that many is far more than can be withstood, death a certainty if not immediate.

The acting is very strong and nuanced. Winstone and Pearce, the leads, ably convey their characters’ inability to see life in the sharp divisions imagined by Wenham and Huston. Cave’s dialog is honest and direct, yet not without literary quality.

Director John Hillcoat uses the Outback landscape to great advantage. The terrain is as sparse as the dialog and the glaring sky conveys claustrophobic limits to what is really a nearly unconstrained vastness.

recommended

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Pirates of the Caribbean: At World's End

In this summer of third in the franchise flicks, the (perhaps not) last of the movies inspired by the classic Disneyland ride is another disappointment; worth seeing but just. Everyone is back (Depp, Knightley, Bloom, Geoffrey Rush, Jack Davenport, Bill Nighy, Jonathon Pryce, Stellan Skarsgard and the pirate crewmen) including the writers and director Gore Verbinski plus cast additions Chow Yun Fat and Keith Richards as well as a much juicier part for Naomie Harris’s mystical Tia Dalma.

The three key problems I have with Pirates of the Caribbean: At World’s End are:

  • The opening sequence of ordinary folk lining up and being hung six at a go, including a small child in the final group, is far to grim and explicit for a family-friendly movie. How are parents supposed to explain this to the many six and seven year olds in the audience?
  • The resolution of Bloom and Knightley’s romantic plot, which I won’t spoil, is disappointing and also too negative. Two b: Bloom seems to have caught the don’t wanna be here bug from Toby Maguire.
  • Verbinski’s portrayal of Captain Jack’s life in Davey Jones’ Locker is surreal and belongs more in, say, Oliver Stone’s The Doors and Mike Myers parody of same in Wayne’s World 2.

On the plus side, Rolling Stones guitarist Richards’ performance is a pleasant surprise, Depp gets to go as far as he wants, Verbinski plays his huge cast as well as the computer-generated Jones does his pipe organ, and the cinematography by Dariusz Wolski is excellent, as is the sharp, colorful work from the Art Department.

recommended

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