Point Break.

Review #2520: Point Break.

Cast: 

Keanu Reeves (FBI Agent Johnny Utah), Patrick Swayze (Bodhi), Gary Busey (FBI Agent Angelo Pappas), Lori Petty (Tyler Ann Endicott), John C. McGinley (FBI Director Ben Harp), James LeGros (Roach), John Philbin (Nathaniel), Bojesse Christopher (Grommet), Lee Tergesen (Rosie), Vincent Klyn (Lupton 'Warchild' Pittman), Chris Pedersen ('Bunker' Weiss), Dave Olson (Archbold), Anthony Kiedis (Tone), and Galyn Gorg (Margarita) Directed by Kathryn Bigelow (#1258 - K-19: The Widowmaker, #1548 - The Hurt Locker, #1820 - The Loveless, #2188 - Near Dark, #2361 - Blue Steel, #2494 - Strange Days)

Review: 

“Thrill-seeking adrenaline addicts have always fascinated me. The idea seems to be that it’s not until you risk your humanness that you feel most human. Not until you risk all awareness do you gain awareness.”

Sure, it feels right. The original idea of the film came from Rick King, who wondered about surfers who robbed banks. King had directed Prayer of the Rollerboys (1990), which was written by W. Peter Iliff, who once was waiting tables in his late twenties before becoming a screenwriter. Iliff's original screenplay (under the working title Johnny Utah) actually had bounced around for much of the late 1980s (Ridley Scott was at one point tapped before pre-production didn't go anywhere) before eventually falling into the hands of Lawrence Gordon and his company that went with Kathryn Bigelow to direct. Bigelow, alongside her then-husband James Cameron did re-writes for a production draft (one particular moment that Cameron came up with was the main character jumping out of a plane without a parachute); in short, it wasn't a movie crafted by one person but through a variety of influences (Cameron, for whatever reason, recently expressed a bit of bitterness over not getting a writer's credit). Made on a budget of $24 million, the movie was a decent enough with audiences at the time of release and it attracted enough of a following that someone made a "reality-play" parody (which premiered in Seattle in 2003) of the film that has a new unrehearsed actor play the lead role and read lines from cue-cards (various people have attended performances such as Busey, Petty, and even Bigelow). A remake was released in 2015, which was shot/directed by Ericson Core with Édgar Ramírez and Luke Bracey playing the lead roles, and a TV adaptation has been floating around for a few months.

Well, you either live for the ride, or the waves will just splash you away. The whole "initiation into a group by a cop" thing wasn't completely mined out by this point (as evidenced by say, The Fast and the Furious [2001] a decade later), but the best thing about the movie is that it just coasts on the amount of casual energy it has with its cast and action. The folks here play the whole thing as straight as you can play it even with folks being named "Johnny Utah" going from former football players to FBI agents (in fairness, Charles Tillman actually did go from former NFL player to federal agent, so there's that) to go along with people who are all in their own varying levels of inner balance*. Reeves was the one that Bigelow defended despite studio doubts, and, yeah, he makes for a good pairing with Swayze in that type of bond that basically goes past the usual cat-and-mouse game that comes with these types of movies. You've got vulnerability and the yearning to actually do something on one side with Reeves and the eclectic confidence that comes from someone who aims to be the master of their own domain (spiritually, literally, whatever). All will drift onto the other side, so why not try to aim for the ultimate thrill when doing so? The rest of the cast* are fairly charming in their aims for a film that takes things casually, whether that means a few chuckles at the strait-laced McGinley or the odd duck straight man nature of Busey (see, he doesn't always play louts or the heavy). Call it whatever you want (one label that has been floated around is "wet Western"), call it a movie about finding a soul within riding the waves of the frontier that is the sea, the important part is that it is a pretty neat thriller at the end of the day. It packs enough heat within its 122-minute runtime that coasts in the air with skydiving, on the ground with one particular chase scene and in the water for, well, various moments to try and capture the feeling of surfing (I myself can't say stuff about water besides trips to the waterpark). It even has an ending like a Western with the culmination of one perhaps finding a soul within the waves. For a movie as stimulating in its curiosity for high-octane interest as this one is, you will probably have a good time with a film that has managed to get to 35 years with relative ease.

Overall, I give it 8 out of 10 stars.

Song of the day!

*There are apparently people who find a homoerotic subtext to the film in the same sense that people try to do that for Top Gun. Truth be told, I wish people had half as much time to use on Strange Days, which is the far more interesting Bigelow movie of the 1990s. Seriously, go see it.

*My balance is trying to hide my desire to be wrapped up on an island with a lady just like Lori Petty's character. What a character, especially with that hair.

The Rock.

Review #1943: The Rock.

Cast: 

Sean Connery (SAS Captain John Patrick Mason), Nicolas Cage (FBI Special Agent Dr. Stanley Goodspeed), Ed Harris (Brigadier General Francis X. "Frank" Hummel), John Spencer (FBI Director Jim Womack), David Morse (Major Tom Baxter), William Forsythe (FBI Special Agent-in-Charge Ernest Paxton), Michael Biehn (Commander Charles Anderson), Vanessa Marcil (Carla Pestalozzi), John C. McGinley (Captain Hendrix), Gregory Sporleder (Captain Frye), Tony Todd (Captain Darrow), Bokeem Woodbine (Gunnery Sergeant Crisp), Jim Maniaci (Private Scarpetti), and Greg Collins (Private Gamble) Directed by Michael Bay (#057 - Transformers, #058 - Transformers: Revenge of the Fallen, and #129 - The Island)

Review: 

“They make up words like Bayos and Bayhem and all this crap.” 

It was never intentional to miss out on watching films directed by Michael Bay for so long, which reached a decade this year. I suppose it is hard to find time for every director, polarizing or not. The Rock was his second feature film as a director, which like Bad Boys (1995) was produced by Jerry Bruckheimer and Don Simpson (in their final production together) who had noticed his success in directing music videos. Bruckheimer would serve as a producer on Bay's first five films (Simpson died five months before the release of The Rock). The original script had been done by David Weisberg and Douglas Cook. Mark Rosner contributed work to the screenplay, but there were various writers who did work on the script that did not receive credit, such as Jonathan Hensleigh (who Bay felt deserved credit), Aaron Sorkin, and Quentin Tarantino; the result is a script that had little humorous moments, with Cage ad-libbing a good chunk of his dialogue. Admittedly, the premise might seem cobbled from other action films: it is a siege film, one set on Alcatraz Island where the choice is either a payout (for families of forgotten veterans) or gas-loaded rocket destruction. Of course, things aren't quite what they seem in a film that pairs a chemist, a talented escape artist, and a SEAL team together, and that is part of the fun.

The key to the film working as it does beyond the usual action expenditures is the engaging ensemble cast. Oh yes, Connery and Cage are enjoyable together, but the whole film has pretty good character presences within its three sides: the beleaguered pairing of our heroes, the indignation shown by Forsythe and Spencer at the whole proceeding, and the wavering villainy that goes from Harris to Todd. In other words: the people prove enjoyable to watch on screen just as much as the action sequences, which means that the stakes mean just as much as they would in a generic movie. Its funny that this was the first big action film for Cage, fresh off an Academy Award performance in Leaving Las Vegas (1995) alongside a wide variety of films that had included Moonstruck (1987) and... well, stuff like Fire Birds (1990). But The Rock was the first of a variety of mainstream entertainment (or whatever you might call it), and it is pretty clear to see his appeal. Here, he plays the angle of comic relief alongside action hero to worthy compromise, showing plenty of timing within his facial expressions and mannerisms that makes for an engaging presence, particularly when matched against Connery, the king of relaxed charm even in his late sixties. The amusing little theory that has been passed around over the years is that Connery is really playing an older James Bond, and while I can't really endorse it, it probably does work within explaining how Connery proves so effective in his measured charisma that comes through all of the action beats. Connery and Cage have a nice, weird chemistry together that serves as the ideal match of established names that doesn't see either overshadow the other. Harris is the ideal adversary in that he isn't merely there to shout banal dialogue, and the film actually spends a bit of time giving him depth beyond the usual siege film: a man fed up with higher-ups failing the paragon of virtue he has tried to live up to (so in a way, Harris and his performance might remind one of the Rambo films). He is a natural leader that makes the ideal villain: one with a point that they firmly believe in. Sporleder and Todd make worthy adversaries when it comes to representing both heavies and the ideals of what it takes to be a sellout. Spencer and Forsythe each make capable foils to our leads in indignation, whether that involves one being held on a rooftop or the latter trying to tolerate the whole proceedings as the semi-tough guy, who like any good tough guy generates a smile. There are a number of folks that are meant to fall by the wayside such as Biehn or Morse, which they handle like character pros. It is an over-the-top film, but it is a roaringly fun film that justifies its 136-minute run-time. His filmmaking style may be called "Bayhem", but it only serves as a useful compliment when one sees his craftsmanship (and theories about the government) on display. It balances its two halves neatly: you get a car chase in one half and careful pacing of action with the latter half. Bay lives for what James Cameron calls "the big train set", which basically means one huge production with all the trappings of non-compromise. So yes, thinking of Bay and Cameron as similar filmmakers may sound weird, but give it a bit of thought sometime. As a whole, The Rock is an enjoyable film, serving as the most respected film of Michael Bay because of the display of craftsmanship that is put firmly on display with no sense of compromise or false note within its engaging ensemble cast. It pulls most of the strings correctly in ways that any director would be proud of.

Overall, I give it 9 out of 10 stars.

On Deadly Ground.

Review #1764: On Deadly Ground.

Cast: 

Steven Seagal (Forrest Taft), Michael Caine (Michael Jennings), Joan Chen (Masu), John C. McGinley (MacGruder), R. Lee Ermey (Stone), Shari Shattuck (Liles), Billy Bob Thornton (Homer Carlton), Richard Hamilton (Hugh Palmer), Chief Irvin Brink (Silook), John Trudell (Johnny Redfeather), Mike Starr (Big Mike), and Sven-Ole Thorsen (Otto) Directed by Steven Seagal.

Review: 

For a long time, I wondered exactly what to think about watching a movie featuring Steven Seagal. No, really. When one has seen countless action movies that have featured folks like Arnold Schwarzenegger, or Bruce Willis, or even folks outside the Hollywood system in the heyday of action films, one does eventually wonder just how green the grass is on the other side when it comes to folks with reputation that could be considered "boorish" or "different". Of course, let's start at the beginning. Born in Michigan but raised in California, he actually started his adult life as a martial arts instructor in Japan before returning back to run his own dojo (of course, he had made claims that he actually had an association with certain CIA agents during that time, but this is dubious). Eventually, he broke into films, although he started out as a coordinator for stunts and martial arts. At any rate, it was the help of an agent within Hollywood that got him into his first film role with Above the Law (1988), which he also co-produced and co-wrote. This would be followed by a string of action vehicles such as Hard to Kill (1990), Out for Justice (1991), and Under Siege (1992), with the latter generally being considered his most mainstream hit. Seagal still persists on as an actor in film roles, although generally they are either "direct-to-video" or "video-on-demand" or "well, he has a supporting role, but he is top-billed like some other action stars". At any rate, 1994 Seagal had star power that he could use for something meaningful in films and he clearly wanted to make a feature film with a message. As such, On Deadly Ground is his debut feature film as a director, done in a deal with Warner Bros. that in exchange for directing that he could star in Under Siege 2: Dark Territory for them the following year.

Oh, he was trying to be serious with this film. With lines such as ”What does it take to change the essence of a man?”, you better believe that the action star wanted to create something thoughtful. Of course, he was quoted as stating he did not consider himself a martial-arts star, as if he did not in fact want to be thought of as the next incarnation of folks like Chuck Norris (another time, another time). Indeed, Seagal can state that he directed a film for a major studio that other stars did not...and he inadvertently made one of the most unintentionally hilarious films of its time, a movie that waxes on about the environment and what must be done about it while being stuffed with a body-count akin to a horror movie, complete with giving an esteemed actor like Michael Caine an unsightly hairdo in a role likely up there in amusement with Jaws: The Revenge. You could actually cut the movie to make it look like Seagal is some sort of slasher character, since he runs the gamut of creative death sequences for the folks he takes down (who are as one dimensional as he is), which revolves from setting traps to dropping people into oil. But hey, let's briefly talk about the supporting folks first, because they sure are disposable enough to make fun of. Caine looks and sounds befuddled here, as if he was wondering where the "Captain Planet" voice booth was instead, and he is given exactly the amount of depth one would expect from a cardboard cutout villain. Chen is the accompanying leading lady with Seagal, and it is amusing to see the absolute zero chemistry between the two, which is made more amusing with her being present for a variety of death scenes that involve no reaction on her part. McGinley plays the toady role with cheese that at least looks like he is having an ounce of fun (one wonders how Thornton did with his small part in amusement). Ermey is technically meant to be the adversary to Seagal, but since our hero never experiences any real threat, he is more amusing than anything.

I strongly suspect that there would have better movies to watch Seagal in before I tried this one, because no one could be this wooden. He may have the physique for an action star, but he seems far too wrapped up in...whatever his attempt at charisma is. There are lines that sound like they should be funny, but it is the stuff that is supposed to be taken seriously (such as the aforementioned line I stated in the previous paragraph...which he speaks to a guy he just beat up after doing a slap hand game) that is more amusing, as if he was playing a killer without any awareness at all. To top it all off, Seagal spends the last couple of minutes talking about the environment (as if to the audience), which apparently was actually cut down from the request of Warner Bros. (since Seagal had a much longer plan); it might be appropriate for Greenpeace but otherwise it proves hysterical when it comes from a movie where a dude just destroyed a rig and dozens of people. At any rate, the movie (known first as "Rainbow Warrior" and "Spirit Warrior" before this title) involved a guy trying to rectify the wrongs of an oil company that plans to use their latest device to drill before the native Alaskans can retrieve the land back, a vision quest, and dozens of amusing moments. Oddly enough, the most equivalent film in that regard might be Billy Jack (1971), since that movie also features a hero that is friendly with the natives that likes to kick and kick before preaching about a certain message (which was pacifism, although that movie had plodding sequences with hippies). Honestly, more folks should probably check this one out for its sheer failure in message and execution, regardless of how it easy it seems to pick on Seagal these days. This is the one chance you have to see him as both star and director, and it all comes in a flop like this.

 

Overall, I give it 3 out of 10 stars.

Next Time: Fate lends a hand and delivers In the Name of the King for Black Friday.

Platoon.

Review #1090: Platoon.

Cast: 
Charlie Sheen (Chris), Tom Berenger (Sgt. Barnes), Keith David (King), Willem Dafoe (Sgt. Elias), Forest Whitaker (Big Harold), Francesco Quinn (Rhah), Kevin Dillon (Bunny), John C. McGinley (Sgt. O'Neill), Mark Moses (Lt. Wolfe), Corey Glover (Francis), Johnny Depp (Lerner), and Chris Pedersen (Crawford) Directed by Oliver Stone (#095 - Wall Street)

Review: 
Platoon is a movie that is clear in what it wants to portray and show without feeling inauthentic in its depiction of battle, showing war as only a veteran like Stone would do. After serving a tour of duty in Vietnam in 1967-68, he had written a screenplay that had elements based on his experiences in the war (which he referred to as Break). Although the screenplay ended up not being produced, it served the basis for what became this film. Prior to directing this movie, he had served as screenwriter for films such as Midnight Express (1978) and Conan the Barbarian (1982), winning an Oscar for the former work while also directing films such as Salvador (1986). In any case, this movie was made in the Philippines on a budget of $6.5 million, with the main crew going through a two week basic training under Dale Dye, who served as military adviser for the production. It is evident from the first twenty minutes that this type of dedication helped in making for an authentic experience, with the actors showing signs of burn out and weariness that aligns perfectly with Stone's intent.

Even when Platoon has narration parts with Sheen, there isn't a time when the movie seems like it is using cliche parts just to make an everyday war movie, having a tone and pace that feels consistent in its two hour length. This is a harrowing film to watch, and it is the performances from its main cast that elevates the material, particularly from Berenger and Dafoe. Berenger shows a raw intensity to his portrayal that has a ruthlessness is relentlessly compelling, right down to the major face scar. Dafoe does a fine job with lending this character some compassion and straight edged nature that makes him easy to follow through with in his time on screen. Nearly lost in the shuffle is Sheen, who delivers a decent performance that serves as our face to watch act in an environment as frenzied as this without becoming just a face in the crowd. The other actors do fine jobs in the time they are on screen, such as David and his level-headed nature, Whitaker and his big-hearted but fitting essence, or McGinley and his weariness. The cinematography by Robert Richardson is also a fine standout, looking right for the film with its depiction of battle without being needlessly bright or dark. The film has a share of music it uses for good effect, such as Jefferson Airplane's "White Rabbit", but also most notably Samuel Barber's "Adagio for Strings", which is used to great effect anytime it is heard on screen, such as during the iconic death sequence with the raised hands, which one can even see on DVD covers for the movie. There is a certain kind of nightmare quality to it that this film evokes that makes it captivating to watch in seeing the depiction of war through the prism of what Stone showcases that seems to burn into one's memory every minute it is on screen. The movie was winner of four Academy Awards, winning for Best Picture, Best Director, Best Film Editing and Best Sound, and it isn't hard to see why that is the case, as this is a fine piece of work that has an honest hard edge to what it depicts without any shred of cliche nature.

Overall, I give it 9 out of 10 stars.

Office Space.

Review #793: Office Space.

Cast
Ron Livingston (Peter Gibbons), Jennifer Aniston (Joanna), Stephen Root (Milton Waddams), Gary Cole (Bill Lumbergh), David Herman (Michael Bolton), Ajay Naidu (Samir Nagheenanajar), Diedrich Bader (Lawrence), John C. McGinley (Bob Slydell), Joe Bays (Dom Portwood), Alexandra Wentworth (Anne), and Richard Riehle (Tom Smykowski) Directed by Mike Judge (#570 - Beavis and Butt-Head Do America)

Review
Office Space is based off the Milton cartoon series by Mike Judge (who co-created one of my favorite shows, King of the Hill, but also created Beavis and Butt-Head), with Milton being a supporting character in a movie that manages to be effective at sly humor and its portrayal of the workplace that I'm sure some can relate to in any form. The cast really seem to click well, especially Livingston/Herman/Naidu, making for some fun scenes, such as when they smash a printer near the end.  Nothing in the movie seems fake or overdone, with Cole's micromanager role being especially fitting. Aniston is also a welcome part of the cast, having decent chemistry with Livingston but also seeming like the one sane individual in a movie full of quasi cynical (but enjoyable) characters. Of course, Milton (and his red stapler) stands out as well, from his glasses to the way he expresses his aggressions. I especially like when he's trying to get a piece of cake (during a birthday party), and he seems to have a piece...right up until someone tells him to pass it to the next person, while he ends up not getting a piece after all (full disclosure: I would probably have just flat out left instead of passing it on, but that's probably me being annoyed at people cutting big pieces for people with a big crowd). The movie doesn't relent on showing how inane the workplace can be, from conversations between management and workers that seem so repetitive no matter what the situation, to the lack of motivation one has to work (which is expertly addressed midway through, which get him promoted). The ending is peculiar in how abrupt it feels, but it works for a movie that takes risks and accomplishes what it wants in just under 90 minutes. I recommend this movie for anyone looking for some sly edge humor, or something different about work.

Countdown: 10, 9, 8, 7...

Overall, I give it 8 out of 10 stars.

Movie Night: 42.

Review #372: 42.

Cast
Chadwick Boseman (Jackie Robinson), Harrison Ford (Branch Rickey), Andre Holland (Wendell Smith), Christopher Meloni (Leo Durocher), John C. McGinley (Red Barber), Lucas Black (Pee Wee Reese), Alan Tudyk (Ben Chapman), Nicole Beharie (Rachel Isum Robinson), Brett Cullen (Clay Hopper), and Ryan Merriman (Dixie Walker) Directed by Brian Helgeland.

Review
On a day like this where baseball is around to entertain us as the week begins, history is once again turned into a movie and once again I'm reviewing a film about Jackie Robinson, the first one starring himself (#365 - The Jackie Robinson Story), which wasn't bad, but not too special. This is first film reviewed here from 2013, and trust me there will be more soon enough from 2013. This film...manages to be entertaining. While it may have some inaccuracies that some have found, I don't mind. It seems sweetening and easy to figure, but it manages to capture a tone of the 1940's, which given the mood back then, makes sense, I suppose. Boseman is a surprisingly good actor for someone I haven't watched before, leaving an impression, looking the part. But the actor I think is the best out of all of them is Harrison Ford, who surprised me because he does radical change to be Rickey and does a great job, making me smile. The rest of the cast (Examples being Meloni, Holland and Beharie) do a fine job, keeping the film at pace as well. The baseball action works well, and it captures an old feel of life, baseball and more. It has its moments, and it certainly is a good biopic. Essentially, 42 hits a ball that goes deep into right field, narrowly missing the foul pole but still going fair.

Overall, I give it 9 out of 10 stars.

Movie Night: Wall Street.

Review #095: Wall Street.

Cast
Michael Douglas (Gordon Gekko), Charlie Sheen (Bud Fox), Daryl Hannah (Darien Taylor), Martin Sheen (Carl Fox), John C. McGinley (Marvin), Terence Stamp (Sir Larry Wildman), James Karen (Harry Lynch), Hal Holbrook (Lou Mannheim), Sean Young (Kate Gekko), and James Spader (Roger Barnes) Directed by Oliver Stone.

Review
This film is a classic, pure and simple. Sheen and Douglas play each other off so well, with Douglas being the main man here, doing an excellent job, especially with his "Greed is good" Stone mixes so many things from different periods of time to get them all matched into respective characters. The one single flaw is Daryl Hannah. I don't know why, but her acting here is...Dull. I know she plays basically a lackey to Gekko, but couldn't they at least make her do a better job at it? The film is excellent in value that makes you interested and a little bit smarter at the end. We are close to 100 Reviews. Countdown: 10, 9, 8, 7, 6, 5...

Overall, I give it 8 out of 10 stars.