Shoot to Kill (1988).

Review #2532: Shoot to Kill.

Cast: 

Sidney Poitier (Warren Stantin), Tom Berenger (Jonathan Knox), Kirstie Alley (Sarah Renell), Clancy Brown (Steve), Frederick Coffin (Ralph), Richard Masur (Norman), Andrew Robinson (Harvey), Kevin Scannell (Ben), Michael MacRae (Fournier), Milton Selzer (Mr. Berger), Les Lannom (Sheriff Dave Arnett), and Robert Lesser (Agent Minelli) Directed by Roger Spottiswoode (#171 - Tomorrow Never Dies, #191 - The 6th Day, #1205 - Air America)

Review: 

"The movies I want to make are not people's priority. Nobody would touch them. They cost a lot of money, and studios no longer finance development, so if I didn't pay for them myself they wouldn't happen."

Admittedly, I picked this movie to clear a few obligations of mine, mainly in my director logs (as one does when "this movie or this movie?" is not enough). I came across Roger Spottiswoode and figured, why not talk about one of his movies? The Ottawa-born director was the son of a documentary filmmaker that had made films for the war effort for the National Film Board of Canada. He started his film career as an editor (once stating that his school was in the cutting room), rising from doing work on commercials to being the co-editor of Straw Dogs (1971). He was approached to direct for the first time with the horror film Terror Train (1980), which was a light success. He took over the production of the troubled The Pursuit of D. B. Cooper that came out the following year before doing Under Fire (1983) and The Best of Times (1986), which were not major successes at the time. All of this collides with the return of Sidney Poitier to the big screen, as he had not starred in a film in eleven years (having spent a good chunk of his time directing). The story was written by Harv Zimmel, who in turn co-wrote the screenplay with Michael Burton and Daniel Petrie Jr, with the latter serving as a co-producer. For whatever reason, outside of North America the movie was called "Deadly Pursuit" (one of the working titles was "Mountain King"). Over the next couple of decades, he would direct a variety of films along with ones for television to varying levels of quality such as Turner & Hooch (1989) or And the Band Played On (1993). 

 

Sure, it might be easy to call this one routine, what with it being a buddy thriller in the mountains between two people who get through a few personal disagreements to work together in pursuing one pretty obvious goal. It's a machine of familiar aspects, right down to changing the locale for the final pursuit...and I love stuff like this. It's a fun movie for the execution that it holds in its hand of entertainment, one where you can playfully ask questions about its premise and not feel the need to come up with an answer (or, "cope", if one is younger). Who cares about why just one FBI guy is present to chase a killer when it is so much fun to see the revolving door of moments that come from Poitier and Berenger. It helps that Poitier (who turned 60 in 1987) hasn't lost his touch when it comes to selling the movie with poise that is basically unshakable even when in a different element (as one does when stolen jewels turn into folks having their eyes shot out), and it pairs well with the hardened Berenger (always a charmer*, I would say) for a few chuckles in the crisscross of trying to move forward in a locale that curves on a whim, such as say, a bear encounter. It helps that the movie takes some time to actually reveal just who is the killer is (okay you already can tell by the billing) to pair along with Alley (decent, if not exactly comparable to someone like Brown) and others for a bit of smooth tension, because there is a bit of a mean streak with the body count. Seriously, you get a few people thrown off ledges to pair with an experience that eventually climaxes with shooting a gun in water, it is the kind of movie you slip on at night and just enjoy the ride. Both actors get to run the process of what they know best in their environments without underselling the other person. This was a movie made when films still liked to actually strive for a landscape to look upon with pride (it was mostly filmed in British Columbia, as one does when being set in the Northwest), suffice to say. As a whole, Shoot to Kill is a pleasant thriller for all involved, maneuvering through its 109-minute runtime with a good sense of adventure and fun that doesn't waver in its entertainment value regardless of how familiar it might seem because its charms are too good to resist.

 

Overall, I give it 8 out of 10 stars.

Song of the day!

*Berenger is a sentimental favorite of mine, I think, mainly because I re-watch Major League every year.

*By the way, this movie actually has a 100% rating on Rotten Tomatoes. Seriously.

Training Day.

Review #1529: Training Day.

Cast: 
Denzel Washington (Detective Sergeant Alonzo Harris), Ethan Hawke (Officer Jake Hoyt), Scott Glenn (Roger), Eva Mendes (Sara), Cliff Curtis (Smiley), Raymond Cruz (Sniper), Noel Gugliemi (Moreno), Dr. Dre (Paul), with Harris Yulin (Detective Doug Rosselli), Tom Berenger (Stan Gursky), Raymond J. Barry (Captain Lou Jacobs), Peter Greene (Jeff), Nick Chinlund (Tim), and Snoop Dogg (Blue) Directed by Antoine Fuqua.

Review: 
"Being a kid growing up with Kurosawa films and watching Sergio Leone movies just made me love what it could do to you, and how it could influence you - make you dream."

What we have here is a film comprised of two unifying visions in writing and directing when it comes to shades of gray in the streets and the people that live in it. Fuqua grew up in Pittsburgh, Pennsylvania and described himself as living a rough area that nevertheless found inspiration from films of his youth that affected him such as Seven Samurai and The Magnificent Seven in watching people struggle through their own fight for justice. He studied engineering and fine arts at West Virginia University with the intent to join the military before deciding to enter into filming with music video directing, which he started in 1992 for performers such as Chanté Moore and moved into film directing with The Replacement Killers (1998). The writer of this film was David Ayer, who while born in Champaign, Illinois lived with his cousin in South Central Los Angeles before serving in the United States Navy for two years as a Submarine Sonar Technician (with those experiences inspiring him to write his first published screenplay, U-571). The script for this film had been developed over the course of a few years by Ayer (who would later become a director in his own right) and he spent considerable time observing with people who resided in that area for their perspective on law enforcement, with the 24-hour setting coming through his fascination with seeing a person entirely transformed through one particular day. Fuqua would also do his part in maintaining a realistic atmosphere through shooting on location all around Los Angeles (whether that meant South Central or the Imperial Courts) that meant consultation with undercover cops and gang experts (which extended to the stars of the film).

Perhaps it shouldn't be surprising that Washington does a great job with this role, because it clearly is a challenging role well-suited for a great actor to show nuance with. The film seems to take its lead from films like The French Connection and Dog Day Afternoon in a gritted-teeth telling about police action how it pertains to the community at large with a pace that works itself to fair standards with a solid duo wrapped around a world of brutality involving crooked cops and gangsters that still seems relevant today (the C.R.A.S.H. scandal involving the Los Angeles Police Department occurred by 1998, which was after the development of the screenplay but still prescient by the time of filming). Washington does a great job in depicting the logical next step of trying to take on the pressure-cooker type streets in going over the line and becoming an intimidator of the neighborhood. With a lesser actor, it might have just been an opportunity to go over-the-top in the guise of street justice, but Washington reins in a captivating performance filled with aggressive precision that isn't easy to pin down scene-to-scene. Hawke holds his ground on the other side of authority in ambition choked by underlying darkness, one that does just as well in driving the material forward with patience and an electric rapport with Washington that makes for good drama. Others do just fine in filling the details of a grayish world, such as Glenn with slimy calm, or an unassuming Mendes, though of course the best scene with others is one involving Yulin, Berenger, and Barry as "wise men" in their understanding with Washington when it comes to what's on/off the table. On the whole, one will find a decent experience to be had here through 122 minutes, as it has a general patience and understanding of a time and place that still adheres to how might makes right, with credible pacing and buildup to go with a well-paired duo and capable support to deliver a good thriller.

Overall, I give it 8 out of 10 stars.

Gettysburg (1993).

Review #1242: Gettysburg.

Cast: 
Tom Berenger (Lieutenant General James Longstreet), Jeff Daniels (Colonel Joshua Chamberlain), Martin Sheen (General Robert E. Lee), Sam Elliott (Brigadier General John Buford), Stephen Lang (Major General George Pickett), Maxwell Caulfield (Colonel Strong Vincent), Kevin Conway (Sergeant Buster Kilrain), C. Thomas Howell (Lieutenant Thomas Chamberlain), Richard Jordan (Brigadier General Lewis A. "Lo" Armistead), James Lancaster (Lieutenant Colonel Arthur Fremantle), Richard Anderson (Major General George Meade), Royce D. Applegate (Brigadier General James L. Kemper), John Diehl (Private Joseph Bucklin), Joshua D. Maurer (Colonel James Clay Rice), Patrick Gorman (Major General John Bell Hood), Cooper Huckabee (Henry Thomas Harrison), and Brian Mallon (Major General Winfield Scott Hancock), with narration by W. Morgan Sheppard. Directed by Ronald F. Maxwell.

Review: 
How does one do proper justice to a film such as this? It is a film that runs at 254 minutes (with 17 additional minutes added for the Director's Cut), making it one of the longest films released by an American studio. The original intent was to broadcast this as a miniseries for TNT, after ABC turned down backing the project earlier in the decade. However, it was felt by network namesake and famed media mogul Ted Turner that the rushes coming in were good enough to release in theaters. The film did indeed get shown on TNT the following year, shown on two nights to a viewership of over 20 million; it did not prove to be a major success at the box office, making back only twelve million on a $20 million budget owing to a limited release of less than 300 theaters at its peak distributed by Turner-owned New Line Cinema and being limited to few screenings per day (due to the length, naturally), but it did prove to be a hit on the video market, with its attention to authenticity ensuring that it would have a place with any history or Civil War buff. This is a film that had been sitting on my shelf for over a decade, and I had wondered exactly how to approach this over the years (alongside the question of exactly how many times my father must have put the film on to watch, with its disc having to be flipped over to experience both parts), but I find that at long last it needs to have its day in the spotlight. One must admire the courage to try and make a film like this, adapted from the 1975 historical novel The Killer Angels by Michael Shaara (awarded the Pulitzer Prize for Fiction for his novel) with adaptation by director/screenwriter Maxwell that used many writings from the book; it is a sprawling spectacle that was filmed on location in Pennsylvania, including scenes recreated on the actual battlefield (allowed by the National Park Service), with plenty of Civil War reenactors to go around to contribute the scale that this movie wishes to show at times through the three-day battle.

What is a film about a battle if not one with a detailed ensemble cast such as this, headlined by Berenger, Daniels, and Sheen most terrifically. Berenger (the first in a line of actors with some sort of big facial hair) shines amiably, having plenty of moments to give credence to such a key role with careful tenacity, which helps carry the first half and chunks of the second well. Daniels plays his side of the coin quite well for himself, showing plenty of humanity and courage that also crucially carries well for the first half. Sheen is just as efficient, blending right in with such a key figure that makes his appearance count without struggle, thoughtful and determined as per the expectation. The rest of the cast make certain they stick out whenever they show on screen, whether it is from the beginning or midway in, acting to the standard one could expect in filling into men long gone but infused into the legend of Gettysburg. People such as Elliott, Conway, Howell, and Huckabee make it count for that first half (the first two hours at least), while others such as Lang, Jordan, and Lancaster accompany what they can in the latter half. It can be easy to see why a project like this was made in the first place, and it does become apparent that this did indeed belong on a movie screen, where the full weight of battle and drama can come out for all to see again and again through the hours.

I will admit that the first half does tend to run a bit better than its second, building its time and characters with a bit more handling than the second half, although the film never has a moment when it all crashes down or feels too out of depth. It is patience and appreciation that carries the tide rather than boredom or confusion. It yearns to cover ground on both sides of the conflict, not devolving itself into one easy corner - it may be about a battle, but it sure makes time to show besides the battle, of these men who have fought other men of their country, a war of freedom and rebellion (or whatever view one has historically) that raged for four years. Despite the war persisting on for two more years after Gettysburg, this proved to be a key fight, and the film makes sure to never lose focus on earning its moments, and the jewel is the execution of the grand battles and accompanying music from Randy Edelman. It isn't a perfect films by any means, and it certainly isn't the easiest one to stick through, but the curious ones at heart who love their history or ones deeply invested in long sweeping spectacles will (and have) find much to appreciate and care for here. Craftsmanship and hard driving work from all involved rule the day here, showing great care and authenticity for such an important event with balance and honor.

Happy Independence Day, folks. I sure hope you enjoyed this unique double-header and I hope you enjoy the 4th and all that comes with it - there are plenty of things to try and cover this month, and a little bit of patriotism helps along the way in getting there. I'll be happy to see where the Independence Day Feature takes me for next year and beyond.

Overall, I give it 9 out of 10 stars.

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.

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.

Movie Night: Major League II

Review #444: Major League II.

Cast
Charlie Sheen (Rick "Wild Thing" Vaughn), Tom Berenger (Jake Taylor), Corbin Bernsen (Roger Dorn), Dennis Haysbert (Pedro Cerrano), James Gammon (Lou Brown), Omar Epps (Willie Mays Hayes), Bob Uecker (Harry Doyle), David Keith (Jack Parkman), Takaaki Ishibashi (Isuro Tanaka), Margaret Whitton (Rachel Phelps), Eric Bruskotter (Rube Baker), Alison Doody (Rebecca Flannery), Michelle Burke (Nikki Reese), and Randy Quaid (Unnamed Fan) Directed by David S. Ward (#426 - Major League)

Review
Major League had its shares of laughs, and while it could've been better, it was a good comedy, arguably a classic. Five years, they made a sequel. This isn't as good. It feels like a rehash at times, and while it does have its moments, it's an okay comedy, as it eventually seems to win down in the same way the first film went, but at least this film doesn't get too sappy, which I guess helps...sort of. The film even retains the same "villain" from the first film, though I do wonder if she would've been allowed to own the team again, what with her deliberately trying to sabotage the team last season and all but oh well. The actors do fine, and Omar Epps does an okay job replacing Wesley Snipes from the last film, not too bad. It's an okay film, having some laughs, but not rising above the first film, inspiring more comparisons to the first film than praise for it. But hey, at least Cleveland got to win something, and that's always nice to see I suppose. I love the fact I've reached 444 reviews, and on my first day back at school. Countdown to 450 Reviews: 10, 9, 8, 7, 6...

Overall, I give it 6 out of 10 stars.

Movie Night: Major League.

Review #426: Major League.

Cast
Tom Berenger (Jake Taylor), Corbin Bernsen (Roger Dorn), Charlie Sheen (Ricky Vaughn), Margaret Whitton (Rachel Phelps), James Gammon (Lou Brown), Rene Russo (Lynn Wells), Bob Uecker (Harry Doyle), Wesley Snipes (Willie Mays Hayes), Charles Cyphers (Charlie Donovan), Chelcie Ross (Eddie Harris), Dennis Haysbert (Pedro Cerrano), and Andy Romano (Pepper Leach) Directed by David S. Ward.

Review
Major League may not bring too much of new things to the table that other sports films like The Natural or 42 have, but it has its own way of trying to reach the level of enjoyment that it mostly gets right. It has its moments of being funny, and while it is sometimes crude in approach, it is excusable because the characters are endearing after a while.  The actors are alright, Berenger and Bernsen do good, Sheen steals the show, but Bob Uecker of all people has memorable moments, even for an announcer, the one liners are memorable It feels dated at times, with the old, now demolished stadiums (Milwaukee County Stadium was used for filming, though it was used only because the stadium that is actually depicted (Cleveland Municipal Stadium) was too busy for filming), the uniforms and other such things, But this film has some charm, it feels close to home, there's always that team that just feels down on times, especially Cleveland teams, and while the idea of comeback is somewhat cliche, there's always something to try and make different about it, and while sports films do run into one another a lot, this breaks that mold, if only slightly.

Overall, I give it 8 out of 10 stars.