Final Destination.

Review #1749: Final Destination.

Cast:  

Devon Sawa (Alex Browning), Ali Larter (Clear Rivers), Kerr Smith (Carter Horton), Kristen Cloke (Valerie Lewton), Daniel Roebuck (Agent Weine), Roger Guenveur Smith (Agent Schrek), Chad E. Donella (Tod Waggner), Seann William Scott (Billy Hitchcock), Tony Todd (William Bludworth), Amanda Detmer (Terry Chaney), Brendan Fehr (George Waggner), and Forbes Angus (Larry Murnau) Directed by James Wong.

Review: 

“I was actually flying home to Kentucky and I read this story about a woman who was on vacation in Hawaii and her mom called her and said ‘Don’t take the flight tomorrow, I have a really bad feeling about it.' She switched flights and the plane that she would have been on crashed. I thought, that’s creepy- what if she was supposed to die on that flight?”

Oh sure, throw a wrench into the horror film with tinges of the supernatural, that is sure to work out. Technically speaking, having no visible murderer is probably the logical step in trying to make new horror films in the new 21st century without relying on all of the clichés from before. The idea came from Jeffrey Reddick, who was an employee of New Line Cinema for years (working in the worldwide marketing department). A horror fan growing up in Kentucky, he was so gripped by A Nightmare on Elm Street (1984) that he actually wrote a brief script revolving around a sequel (sending it to New Line Cinema's chairman Robert Shaye, who encouraged him to keep writing). With the script that became this film, it had actually started as an idea for a spec script for The X-Files, but it was the advice of a work colleague that persuaded him to try and make it into a film script (which was done as a spec script sold to New Line). After working with producers Craig Perry and Warren Zide in developing the script for sale, James Wong and Glen Morgan (a writing pair who had written for the show) were brought in by New Line to produce and direct, and they became involved with re-writing the script in order to have it be made as a film; Wong was quoted as wanting to do for "planes and air travel what Jaws did for sharks and swimming". Four follow-up films followed in the next eleven years (2003, 2006, 2009, 2011), with a potential for a sixth in the near future.

Sure, they wanted to do something that makes you weary about planes like Jaws for sharks, and I guess the build-up to the plane sequence is the most interesting part of the movie in terms of claustrophobia. They wanted to make the entertainment value in the ride and not so much in the outcome that supposedly respects its audience. Honestly though, the ride just is not that interesting to go with, mostly because a ride is only as good as the number of distractions that get in the way (besides, I am reminded of William Castle when it comes to "ride movies", and he knew how to make a gimmick count). With a movie like this, there are just too many distractions for me to appreciate the movie as anything other than a very average movie that either could have been manipulated for dark laughs or something weirder - the only respect that comes out is that it respects folks who want the easiest deaths possible with the bare minimum of suspense. Honestly, the biggest problem with the movie is that you could probably think of a better movie with the bare ideas presented here than what actually has come from something that probably thought more about the death scenes than what really could have been an interesting way to make a movie about someone cursed with the knowledge of impending death. Of course, my interpretation probably doesn't differ much from the intended idea: instead of having a lead character that looks like a freak to some of the folks (as opposed to say...thanking him?), how about just making him an actual weirdo right from the jump? Or hell, why not a series of deaths that could actually be interpreted as something beyond obvious "accident" material (i.e. more than just a guy slipping on water)? Think about it: a dude goes around telling you the plane is going to explode and a bunch of folks get snared into not dying: what better way to test out fate than by putting them to the test (and it would probably help without having bumbling FBI agents)?  Instead, one is stuck with a middling movie that goes through all the motions with the bare minimum of suspense, which thinks it is clever with the use of John Denver references every now and then (naming your characters after horror directors only works if you aren't thinking about the directors, incidentally). Cardboard cut-outs getting killed with Rube Goldberg-type deaths is still cardboard cut-outs getting killed. although the curse of knowing the potential for death could have made an interesting movie, really. That, or maybe it really was something suited for television. 

Sawa, to his credit, gives it his best for a generic movie, filled with lingering confidence that for the most part keeps on the level with the whole "well, I saw death but I dare to not go insane" thing; simply put, he could be less polite. Larter is also alright, gripped with a sense of knowing that comes from the generic outcast role (incidentally, she would be the only returning actor for the sequel). Smith might be flat, but at least the character is semi-interesting when it comes to one scene near the climax involving trying to get out of the cycle of death (at least, until its end note). Technically, the best performance is from Todd, who has exactly one scene to go and talk about death and runs with it (which includes saying "mack daddy", somehow), which I guess helps out if one needs exposition. The others are pretty flat, in that clichés only work if the ride is fun. It isn't really, but that probably plays into my weird creep theory (the only one who reacts in any interesting way is someone who shows irritation when two of the survivors fight, which is immediately followed by them dying); Cloke is the only adult among teenagers (a loose term, but it checks out), and she has the least to really do besides the death scene (look, you can't spoil a movie that only has a finite bodycount among seven); when you are wondering how much more you could have involving Scott as comic relief, you might have a problem. Roebuck and Smith stumble with the blandest of possible procedural clichés (which only reminds me of how this might have played out before 2001). As a whole, it is a slasher movie with all the middling clichés from before except the part where there is a visible slasher figure. Sure, it has a few decent effects and ideas, but as a whole, making a silly horror movie with one neat trick is still making a silly horror movie, no matter how much gloss you put on it. While I undoubtedly will look on the follow-up films at some point, I can only hope they found better ways of trying to make the ride count for something beyond what they did here.

Overall, I give it 6 out of 10 stars.

Next Time: Saw (2004)

Do the Right Thing.

Review #1255: Do the Right Thing.

Cast: 
Spike Lee (Mookie), Danny Aiello (Sal), Ossie Davis (Da Mayor), Ruby Dee (Mother Sister), Giancarlo Esposito (Buggin' Out), Bill Nunn (Radio Raheem), John Turturro (Pino), Richard Edson (Vito), Roger Guenveur Smith (Smiley), Rosie Perez (Tina), Joie Lee (Jade), Steve White (Ahmad), Martin Lawrence (Cee), Leonard L. Thomas (Punchy), Christa Rivers (Ella), Robin Harris (Sweet Dick Willie), Paul Benjamin (ML), Frankie Faison (Coconut Sid), Samuel L. Jackson (Mister Señor Love Daddy) Produced, Written and Directed by Spike Lee.

Review: 
When it comes to great movies, there is generally a sense early on its duration where you know this is going to be more than just a good experience of entertainment. For me, the turning point was probably a short sequence involving Aiello and Turturro's characters involving the latter wanting the former to close down his pizzeria and do something else with his life as opposed to serving the neighborhood any longer than has been the case for 25 years. You have had a look into these people's lives over the course of the film up to now (all of which over the course of one day, naturally), so seeing how a conversation can have some certain preconceived notions seem to bubble even further than what has already happened on screen. One lives on his pride for the people that grew up on his pizza while the other feels nothing but loathing resentment, where being accosted by a guy selling pictures on the street means being rude and loud to their face. This is such a vibrant film, one that grasps for what it wants to say about intercity life and the people that accompany it with their respective type of personalities and preconceptions. For what its worth, the film is still relevant three decades after its release now more than ever, seeming in step in terms of its execution of direction from Lee to bring these characters to life alongside a story that clicks without a hitch from start to finish. Aiello is the best of a group with plenty of useful castmates to go around, showing plenty of surly ruggedness one could expect for such an interesting character however one interprets him and his actions. Davis shines just as well, having a mix of humor and dignity with his key role whenever necessary, whether when on screen talking about doing the right thing or something else. Turturro and Edson certainly play the brotherly sided coin with a fair edge, where their differences stand clear alongside brotherly ties without having a safe closure. Nunn plays the key in making his time count, compelling with a boom box as company.

Whether the character is involved with an amusing moment or something more serious, each actor do their part to make it stick with conviction, whether it is the corner-men of Harris-Benjamin-Faison and their cracks through the day or the time spent at the pizzeria and the people working (and mostly talking) on food for the neighborhood, with the two hour run-time slipping by without much struggle. When the film shifts itself from a mix of comedy and drama to a sudden turning point, it hits with a devastating punch - whether one knows anything about what happens in the film or not before viewing, it makes a key point on the nature of prejudice and what makes for the right thing when the moment needs it. In addition to all of this is wonderful cinematographry from Earnest Dickerson, who does well with making the look of the film seem readily consistent to take place over a day with good lighting (in general, it is quite an achievement to make a film in a few weeks on location) and also good music from Bill Lee. It keeps the pedals rolling without betraying its efforts for its conclusion, keeping a roaring spirit that progresses beyond the final reel. On the whole, this is a thoughtful and entertaining film that pulls quite a punch with forming an interesting world come alive and show the layers beneath the quirks, for which one can still learn from now. It is worth a viewing, preferably with a crowd.

Overall, I give it 10 out of 10 stars.