Mars Attacks!

Review #2160: Mars Attacks!

Cast: 

Jack Nicholson (US President James Dale & Art Land), Glenn Close (First Lady Marsha Dale), Annette Bening (Barbara Land), Pierce Brosnan (Professor Donald Kessler), Danny DeVito (Rude Gambler), Martin Short (Press Secretary Jerry Ross), Sarah Jessica Parker (Nathalie Lake), Michael J. Fox (Jason Stone), Rod Steiger (General Decker), Tom Jones (Himself), Lukas Haas (Richie Norris), Natalie Portman (Taffy Dale), Jim Brown (Byron Williams), Lisa Marie (Martian Girl), Sylvia Sidney (Grandma Florence Norris), Paul Winfield (General Casey), Pam Grier (Louise Williams), Jack Black (Billy-Glenn Norris), Janice Rivera (Cindy), Ray J (Cedric Williams), Brandon Hammond (Neville Williams), Joe Don Baker (Glenn Norris), and O-Lan Jones (Sue-Ann Norris) Directed by Tim Burton (#040 - Batman [1989], #107 - Beetlejuice, #132 - Alice in Wonderland, #196 - Charlie and the Chocolate Factory, #262 - Corpse Bride, #316 - Batman Returns, #969 - Planet of the Apes [2001], #1257 - Pee-wee's Big Adventure, #1295 - Sleepy Hollow, and #1615 - Edward Scissorhands)

Review: 

“I wanted to do something fun with a bunch of Martians with big brains. Basically, make a modern version of Plan 9 From Outer Space or The War of the Worlds.”

Yes, there were two big-budget films about alien saucers coming onto Earth in 1996. Take one guess which ended up as the big audience hit. Of course, the basis for the film was a Topps trading card series of the same name which had a mix of gore and other such content that come with cards that made their debut in 1962 around the Cuban Missile Crisis that gave a couple of kids a curious glance and outcry from parents that led to the culling of production not long after. Alex Cox actually proposed doing a film in the 1980s but couldn't get past the scriptwriting approval stage. In 1993, Jonathan Gems approached Tim Burton about the idea of doing a film based on a Topps card property in "Attack!": Mars and Dinosaurs. Jurassic Park (1993) kind of influenced going away from the latter, to put it mildly. As such, when it came to the screenplay, it was done with a vast array of characters and situations involved, which included that opening sequence of burning cows. As noted by a handful of folks, the spaceship designs were inspired by the film Earth vs. the Flying Saucers (1956). Attempts to do stop-motion for the aliens were rejected due to costs, but the CG from Industrial Light & Music was stylized to have a cheap look on purpose. One other film used for inspiration by Burton and Gems was The Towering Inferno (1974), with them relating how they had watched the film a year prior while stoned. Gems was let go from the project by Warner Bros. (because they wanted Gems to take out that opening sequence) in favor of Larry Karaszewski and Scott Alexander (who had written Ed Wood (1994) for Burton) and then he was put back in a year later. Burton also wrote the screenplay but did not request credit. 

The film (Burton's seventh as a feature director) was made on a budget of $80 million with a good deal more spent on promotion. The film barely met the budget back, while Independence Day, released five months earlier, was the audience favorite when it comes to setting a trend for blockbusters in a sense. I don't think you need me to say which has aged particularly better, because Mars Attacks! is the superior film in every sense of the word Both films do an attempt at effects extravaganza-making in the manner of Irwin Allen, but this is the one that has the most fun along with not insulting one's intelligence. It is a star-studded delight that comes and goes as a pretty good pastiche of the 1950s B-flicks that doesn't insult them or turn into a puddle worse than the material. This time, it isn't big authority or heroic figures that deal with saving the day but instead the ones you don't really see coming. It kind of frustrates me, how could people of 1996 ignore the fun of this? Nicholson apparently took on the film because he enjoyed working with Burton on Batman so much. Weirdly enough, he makes the Peter Sellars of what might as well be the Dr. Strangelove of alien invasion films, because he plays two different roles. He gets to play a towering force of centrist weirdos and a swaggering puddle of sleaze (complete with a gag about his hair) - how can you resist? Close meanders in snobbery for that time required before the inevitable plop. Bening makes a useful hippie in a film filled with broad amusing stereotypes, which even includes the smallest use of DeVito one might expect. You've got Brosnan (one year removed from GoldenEye) getting to do exposition and silly snobbery next to Parker in bewildering chemistry that has some fun head-play. The most noted presence though is Brown, becuase there has to be at least one person who seems serious enough to take on Martian ass-kicking. Haas and Sidney make a charming pair when it comes to families that sure love to stay together and find the oddest way to take down aliens: one old crooner song. Jones apparently wanted to do something different and thus signed on for this film, where he gets to sing "It's Not Unusual" and pop in and out in escape. Ha. I imagine Steiger loved the bluster as much as the check, and that's alright with me. This was actually one of Fox's last live-action film appearances (prior to going public with his Parkinson's disease diagnosis in 1998), and it is fine to see him play a would-be bigshot before the inevitable. The Martians as a whole look pretty funny, particularly with the "ack" dialogue and their plastic features without needing to be explained too much when it comes to the art of "invaders for the sake of being invaders", where Marie doesn't even have to speak to make an eerie Martian as well. The 106 minutes run off pretty well for amusement when it comes to playing against the Establishment type, and it truly bewilders me that this didn't get the respect it deserved for its time. Over 25 years later, this is one of Burton's most underrated films as a director when it comes to entertaining vision in alien disasters and humor with a star-studded cast to back it up.

Overall, I give it 8 out of 10 stars.

The Big Chill.

Review #1059: The Big Chill.

Cast: 
Tom Berenger (Sam Weber), Glenn Close (Sarah Cooper), Jeff Goldblum (Michael Gold), William Hurt (Nick Carlton), Kevin Kline (Harold Cooper), Mary Kay Place (Meg Jones), Meg Tilly (Chloe), JoBeth Williams (Karen Bowens), and Don Galloway (Richard Bowens) Directed by Lawrence Kasdan.

Review: 
Admittedly, recollections about the past can tend to make for an interesting subject for a film, so it is no surprise to see that Lawrence Kasdan, writer of films such as The Empire Strikes Back (#114), Raiders of the Lost Ark (#168), and Return of the Jedi (#115), directed and wrote a film involving the reunion of old friends from the baby boomer generation (with this film along with Return of the Secaucus 7 (1980) serving as influences for the creation of the show thirtysomething). It is strange to note that there were scenes cut out that had featured Alex, the one who had committed suicide (featuring a then-unknown Kevin Costner), and I do wonder what it would've done to the pace and tone of the film. In any case, it's not hard to say that this is neither a great nor terrible movie, falling in the middle fairly easily, for better or worse. The ensemble cast is fairly enjoyable, particularly Berenger, Hurt, Kline, and Tilly. Each of them has something that stands out, such as Berenger and his entertaining type of allure that contrasts with his thoughts on having fame (and memories from the past), or Hurt and his bitter but honest nature that clicks in some way with Tilly (the lone standout in the main ensemble not part of the main generation), with Kline being a fine straight man and pillar along with Close. Goldblum is also fairly entertaining and amusing, and Kay Place and Williams are also fine. The cast manages to make what could've been a bunch of cliches seem a bit more fruitful and watchable. The movie (shot in Beaufort, South Carolina) has a fine look to it that certainly clicks with uniting these people without looking too fake. The soundtrack of the film is pretty interesting, having highlights such as "I Heard It Through the Grapevine" by Marvin Gaye and Creedence Clearwater Revival's "Bad Moon Rising", so I'll give the film credit for having a fine pick of music.

The film has its serious moments of looking at the past, but it also has a few moments for some laughs that make for a good enjoyment for most of its running time of 105 minutes. I will admit that the ending is probably a bit too neat and probably a bit too convenient for someone looking for something a bit more, although that depends on what one is expecting. Do you want something that tries to say something about nostalgia? You'll get it with this movie, although you may not get everything with it. If you want something that tries to face nostalgia with reality, this could (or could not) be for you. I can't exactly fault someone for liking films that try to throw itself back with nostalgia (after all, I am writing this review in the same year that Ready Player One is coming out, so make of that what you will), but I find that the movie is fine (if not really anything too great) with weaving a story with some depth from its recollection. For lack of a better way to say it, The Big Chill is a finely packaged film if you're in the mood for what it offers you.

Overall, I give it 7 out of 10 stars.

Hamlet (1990).

Review #913: Hamlet (1990).

Cast:
Mel Gibson (Prince Hamlet), Glenn Close (Queen Gertrude), Alan Bates (King Claudius), Paul Scofield (Ghost of Hamlet's Father), Ian Holm (Polonius), Helena Bonham Carter (Ophelia), Stephen Dillane (Horatio), Nathaniel Parker (Laertes), and Michael Maloney and Sean Murray (Rosencrantz and Guildenstern) Directed by Franco Zeffirelli.

Review:
I had read this play when I was in senior year of high school (are you surprised?), and I felt that it was a great play, though (naturally) I read it just once. Around two years later, it only made sense that I get around to seeing the 1990 version of Hamlet, compliments of my British Literature class. Whether one interprets the play as one dominated by an inability to act or one of revenge, the movie Obviously the movie takes liberties with the play (after all, it only lasts 134 minutes), but the best thing I can say about the movie is that it is competent enough in the right areas to overcome any doubt of feeling not needed. I will admit, the first half of the movie did not exactly give too much hope; it wasn't a terrible half, but it didn't exactly inspire too much confidence in Gibson (nor the film) having the right kind of passion. However, the second half of the movie does bring itself some well needed tension, where Gibson, Close, and Bates get their chance to show their talents in the climax. It's a swift and satisfying one, where the fencing sequence with Gibson and Parker being a key highlight, obviously.

This is the kind of movie that may vary heavily depending on how one views Gibson in the role of Hamlet. It took me a while to really get invested in Gibson, but he manages to excel at times when having to make madness feel mad. His take on the famed "To be, or not to be" soliloquy has a degree of raw sincerity that works with the carnal nature of the film. Close and Bates are acceptable, with the former being good at showing the motherly love that creeps into the psyche and provides for a particularly interesting scene in the last half of the film. Bates does a decent performance, managing to balance a demeanor of power and sinister nature pretty well. The sets and costumes look well made, looking deft without being too distracting. For me, the movie is well crafted and slick enough with its energy that work in the right places. But I can't find myself wanting to watch this film again, and I think it's because it would be like trying to read Hamlet again; sometimes you just have to let things lie where they are. It is a movie worth recommending for at least one viewing, though I should note there are numerous adaptations of the play as well. There is the 1948 version with Laurence Olivier (which won Best Picture and three other Oscars that year) or the 1996 version by Kenneth Branagh that was the first unabridged theatrical film version of the play (which runs at just over four hours). Of course there's also the 2000 version that updates the setting to the modern day...or the story done with lions in The Lion King. Whatever the case, this is a decent enough film.

Overall, I give it 7 out of 10 stars.

Movie Night: Air Force One.

Review #414: Air Force One.

Cast
Harrison Ford (James Marshall), Gary Oldman (Egor Korshunov), Glenn Close (Kathryn Bennett), Wendy Crewson (Grace Marshall), Dean Stockwell (Walter Dean), Liesel Matthews (Alice Marshall), Elya Baskin (Andrei Kolchak), Levan Uchaneishvili (Sergei Lenski), David Vadim (Igor Nevsky), Andrew Divoff (Boris Bazylev), Ilia Volok (Vladimir Krasin), Paul Guilfoyle (Lloyd Shepherd), William H. Macy (Major Caldwell), and Xander Berkeley (Agent Gibbs) Directed by Wolfgang Petersen.

Review
In keeping with Independence Day, I decided to get another film off my back burner, which was this film. That and it is always fun to watch a film with Harrison Ford (Such as Blade Runner, American Graffiti, Star Wars Episode IV-VI, Raiders of the Lost Ark-Kingdom of the Crystal Skull, The Fugitive, and 42), so why not? And...it's pretty good. Ford once again manages to do an impressive job, reserved, but a stand out nonetheless. Gary Oldman (Who has been in 8 films reviewed here) is a decent villain, and as a contrast to The Fifth Element, he actually meets the main hero character, so I guess that's something. Glenn Close is alright, improved from her performance in (#383) The Natural. The rest of the cast is decent. The film flows well, not veering off too much in the silliness factor or the absurd zone, though I do wonder if the real Air Force One has escape pods for that situation. Petersen does an alright job directing a film such as this, and it is entertaining along with having a bit of drama to make a balanced, useful film for all.

Overall, I give it 8 out of 10 stars.

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Movie Night: The Natural.

Review #383: The Natural.

Cast
Robert Redford (Roy Hobbs), Robert Duvall (Max Mercy), Glenn Close (Iris Gaines), Kim Basinger (Memo Paris), Wilford Brimley (Pop Fisher), Barbara Hershey (Harriet Bird), Robert Prosky (The Judge), Richard Farnsworth (Red Blow), and Joe Don Baker (The Whammer) Directed by Barry Levinson.

Review
While this is the first time I've reviewed a film with Robert Redford, this is not the first time I've mentioned him (#252 - Quiz Show), as he directed that, and I said this about it: "The film is nail-gripping in its drama, being very well delivered, all thanks to the direction by Robert Redford." This time, he's the main star and not behind the camera, but does this film work well either way is the question. And...I like it. While at times the film sounds a bit much in idolizing its main character sometimes, it does have heart and the baseball action goes well with it. Redford does a pretty good job, essentially a "natural" at this. Duvall is fine, and Close does a noticeable, but good job. The rest of the cast, especially Brimley, do good as well, and the film goes along without much flaws. It has its moments and it goes along well in a decent 137 minute pace. Films like these don't come along too much, but when they do they have good merit to it.

Overall, I give it 10 out of 10 stars.

Movie Night: Hoodwinked!

Review #234: Hoodwinked!

Cast
Anne Hathaway (Red Puckett), Glenn Close (Granny Puckett), Jim Belushi (Kirk, the Woodsman), Patrick Warburton (Wolf W. Wolf), Anthony Anderson (Det. Bill Stork), David Ogden Stiers (Det. Nicky Flippers), Xzibit (Chief Ted Grizzly), Chazz Palminteri (Woolworth), Andy Dick (Boingo), Cory Edwards (Twitchy), Benjy Gaither (Japeth the Goat), Ken Marino (Raccoon Jerry), and Tom Kenny (Tommy) Directed by Cory Edwards, Todd Edwards, and Tony Leech.

Review
From what I've learned, this is one of the first independently produced computer animated films, and it does show. With a budget of less then $8 million dollars, the animation is severly lacking in some parts. And yet the film still is a lesson in how to follow your ambitions of making films with limited budgets. The cast can be fun at times, but the film feels more like Shrek at other times, being a moderately decent film hampered by some flaws.

Overall, I give it 6 out of 10 stars.