Cast:
Kevin Costner (The Postman), Will Patton (General Bethlehem), Larenz Tate (Ford Lincoln Mercury), Olivia Williams (Abby), James Russo (Captain Idaho), Tom Petty (Bridge City Mayor), Daniel von Bargen (Pineview Sheriff Briscoe), Scott Bairstow (Luke), Giovanni Ribisi (Bandit 20), Roberta Maxwell (Irene March), Joe Santos (Colonel Getty), and Ron McLarty (Old George) Directed by Kevin Costner (#1497 - Dances with Wolves)
Review:
"I always thought it was a really good movie! I always thought I probably started it wrong. I should have said something like “once upon a time.” Because it was just like a modern-day fairy tale — it wraps itself up with a storybook ending with the statue. You know, I thought it was a pretty funny movie set against the idea of a Superman — somebody stepping up. But in this case, it’s a very humble guy who's nothing but a liar — delivers mail and burns half of it just to stay alive. So, I like the movie."
This film had long been on my backburner for years for the key reason of my dad having it in his collection. Maybe there was just something fascinating about the films directed by Costner or in its post-apocalyptic action adventure (he never had Costner's third and as of now last work with Open Range (2003) but happened to have Waterworld, go figure). Perhaps this was seven years past due, but I can't imagine how "funny" it would have been to talk about a movie set in the future of 2013. Nay, now one can note the fact it has been over two decades since the release of a film regarded as a big flop with audiences, making one-fourth of its $80 million budget. Of course any film that had a variety of critique could also be spun to argue a small cult following for those who like to defend those from the mainstream. This was adapted from the novel of the same name by David Brin, which was initially composed of two parts with "The Postman" (1982) and "Cyclops" (1984) before subsequent publication as a novel. From what David Brin has stated about the book, he wrote it evidently to counteract post-apocalyptic books and films that he felt reveled in the idea of civilization falling...by making one about the last idealist in a fallen America, since he once described most apocalyptical media as "little-boy wish fantasies"...yea, okay. Plans to try and make a film started not long after publication, although Eric Roth's attempts at a screenplay resulted in a complete reworking of the whole plot and message. Years later, Kevin Costner expressed interest in doing the film, finding the original intent of a tale involving decency and hope without cynicism something that he could do, complete with hiring Brian Helgeland (writer of films like L.A. Confidential) for help with the screenplay (for which he and Roth are credited with). Brin knew that there would be a bit of material to be lost and meshed through with an adaptation, and he noted that some of the decisions made by them to be fine with him in the sense that they kept the soul of the main character and story, focusing more on the first third of the novel as opposed to other parts, since a glimpse at the plot talks about developments that occur in the novel involving talking computers and such. Brin felt confidence in Costner being the one to star and direct in the hope for a film that would feel like Field of Dreams (his wife, at a screening of said film, felt Costner would be right for a book adaptation) more so than Mad Max or the Costner vehicle in Waterworld (1995).
That comparison to Waterworld may prove more prescient to how once sees this film in its ultimate goal. That film was absurd and weird as an expensive B-movie, but it at least felt important to watch play out in its trappings of water without overstaying its welcome. In fact, there were a few crew members that referred to the production as "Dirt World" behind Costner's back. While Brin had his praises and reservations, at least one can be content with Brin not feeling cheated out of something that tried to honor a work rather than junking its material and disrespecting the author. He found it "flawed and uneven but ambitious rendition of my story", one that had wonderful moments and imagery despite flaws that looked better than the critics stated about despite its departures from the book. Of course the obvious similarity between critique and one of Brin's reservations becomes apparent very clearly: It is quite too long for its own good (one wonders just how much trust Warner Bros. had in not insisting further in trimming). You know, when Costner made Dances with Wolves (1990), at least one could say there was some reason for it to tower at three hours in length (a version that extends it an hour longer is a question for another day). This is not the kind of movie that needs to go on and on in its attempts at offering aw shucks hope in the vein of Frank Capra in a play against the type of story reminiscent of Mad Max. Simply put, this is a ridiculous little "fable", one that believes it is past those supposed wish fantasies with its self-aggrandizing that reeks of goo in more ways than one. It makes one appreciate the essence of making a simple movie with nuance and interest better that simply saying how much of a miracle it is to get one's mail. So, what does indeed occur in the apocalypse with hope? Oh, just folks with cars for names, couples who ask the mythic hero to help make a baby, and main characters that engage in Shakespeare with each other. Oh yeah, and Tom Petty basically playing himself. Did I miss anything? Oh yeah, a reason to find this anything other than just "eh...?" - after all, there are some fair visuals and a sometimes sweeping music from James Newton Howard to go with passable acting. One can't exactly stick a great deal of venom into what is generally just a silly way to waste three hours. Costner was quite a busy man, starring in a variety of films that revolved from highlights like the aforementioned Wolves and The Bodyguard (1992) to controversial/dubious material like JFK (1991) and Wyatt Earp (1994) alongside Waterworld. Honestly, he should have cast someone else, because all I see is a Costner performance similar to the ones he did before without as much reach. He loiters from place to place like James Stewart, and it all comes out to sap enough to make an ego tree. Patton is okay, in the sense that one is watching community theater of Shakespeare and nut-job in one. Tate is here and there with blandness, because how does one move past dreams of elevating the art of mail delivery with wood. Williams supposedly has chemistry with Costner, in the sense that if you stick two people in a cabin together for a bit, you might see something there. That, or one just rolls their eyes. Oh, but it is pretty funny to see others get bits and pieces, such as von Bargen and his useful skeptic character acting or...Petty playing Petty, if only because it just makes me wish he also sang in the film to top the cheese on the cake (or better yet, find time to listen to an album of his in full). In all, I wish there was something more interesting presented here with this film, because there is clearly something that could be made interesting with hope through dystopia, but in the end it is just too much length and sappiness to really gel into something that means more than a flicker of light. If it (or the novel) resonates with you, all power to you - whatever works best in delivering some sort of entertainment or message within certain doom.
Next Time: Welp, it's Friday, and you want to see a film from the 21st century, I'm sure. Good, because you're getting Freddy Got Fingered.
Overall, I give it 5 out of 10 stars.
Review #1474: Beverly Hills Cop.