Category Archives: Action

Cowboys & Aliens (2011, Jon Favreau), the extended version

Five screenwriters get credit on Cowboys & Aliens. I wonder which one (or ones) are responsible for the stupider “twists” in the plot. Cowboys is stupid the entire time, of course, but it gets even dumber as it progresses.

The movie’s big problem is director Favreau. He isn’t just incapable of directing actors (Olivia Wilde’s performance is atrocious beyond belief), he can’t keep track of a big cast. He’s constantly losing track of the characters, usually in action scenes when he needs to be paying attention.

I assume he’s also responsible for telling cinematographer Matthew Libatique to shoot the film through a muddy lens and he okayed Harry Gregson-Williams’s lame score too. In short, Favreau’s a disastrous director for this movie. It doesn’t even feel like he’s seen a Western before.

For example, Daniel Craig’s supposed to be playing a “Man With No Name” type. Except he’s kind to dogs so the viewer knows he’s really all right. While Craig’s lack of personality is partially his own fault (the script and Favreau do no favors), he’s visibly contemptuous of the material. It’s obvious he thinks it’s stupid.

And it is stupid. It’s terribly stupid. But Harrison Ford manages to give an all right performance, even with a dumber character arc than Craig’s got.

There’s some outstanding supporting work from, no surprise, Sam Rockwell and also Paul Dano and Keith Carradine. Walton Goggins shows up in way too small a part and is great.

Cowboys & Aliens‘s imbecility, surprisingly, overpowers its incompetence.

CREDITS

Directed by Jon Favreau; screenplay by Roberto Orci, Alex Kurtzman, Damon Lindelof, Mark Fergus and Hawk Ostby, based on a story by Fergus, Ostby and Steve Oedekerk and a graphic novel by Fred Van Lente, Andrew Foley, Dennis Calero, Luciano Lima, Luciano Kars, Silvio Spotti and Jeremy Wilson; director of photography, Matthew Libatique; edited by Dan Lebental and Jim May; music by Harry Gregson-Williams; production designer, Scott Chambliss; produced by Brian Grazer, Ron Howard, Johnny Dodge, Kurtzman, Lindelof, Orci and Scott Mitchell Rosenberg; released by Universal Pictures.

Starring Daniel Craig (Jake Lonergan), Harrison Ford (Woodrow Dolarhyde), Olivia Wilde (Ella Swenson), Sam Rockwell (Doc), Adam Beach (Nat Colorado), Paul Dano (Percy Dolarhyde), Keith Carradine (Sheriff John Taggart), Clancy Brown (Meacham), Noah Ringer (Emmett Taggart), Ana de la Reguera (Maria) and Walton Goggins (Hunt).


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Bangkok Revenge (2011, Jean-Marc Minéo)

About the only inventive thing in Bangkok Revenge–and I doubt writer-director Minéo uses it for this reason–is lead Jon Foo being unable to experience emotion. It means Foo doesn’t have to give a particularly good performance. He just has to deliver his lines and he does. He’s not a bad guy, of course, quite the opposite. Corrupt cops killed his parents and now he’s grown up (the brain damage is from the attack) and seeking, you guessed it, revenge.

In Bangkok.

Otherwise, Minéo’s atrocious. He can’t compose a shot, he can’t come up with good fight scenes (he amps up the stylizing to fake ingenuity), he can’t direct actors. He also has a lot of the film in English, but only Foo seems to be able to speak it. His mentor, Kowitch Wathana (in a terrible performance), mangles every line of English dialogue he’s got. He seems completely fluent in Thai, but Minéo seems more concerned with international distribution than a decent picture.

Caroline Ducey, as the erstwhile love interest, butchers her English dialogue too. Minéo would have done a lot better if no one in Bangkok spoke the same language or really understood one another. It would have made for a far more entertaining film.

Somewhat surprisingly–given Minéo’s profound incompetence–are the photography and music. Teerawat Rujinatum shoots DV quite well and Christophe Gerber’s score is professional.

Occasionally (and rather momentarily), Revenge has a moment with marginal potential. But, every time, the incompetence returns immediately.

CREDITS

Written and directed by Jean-Marc Minéo; director of photography, Teerawat Rujinatum; edited by Hugo Picazo and Nicolas Sarkissian; music by Christophe Gerber; produced by Cédric Jimenez; released by China Lion Film Distribution.

Starring Jon Foo (Manit), Caroline Ducey (Clara), Michaël Cohen (Simon), Aphiradi Phawaphutanon (Chanticha), Winai Kraibutr (Samat), Kowitch Wathana (Adjan), Lioutsia Goubaidoullina (Jessy), Julaluck Ismalone (Ying) and Thiraphong Riawrukwong (Superintendent).


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The Great Magician (2011, Yee Tung-Shing)

The Great Magician is a madcap romp through rural early twentieth century China. It never says rural–Peking is mentioned a couple times–but it feels rural, where a somewhat dimwitted warlord (Lau Ching-wan) can still be powerful. The time period’s a little confusing too. Moviemaking plays a significant part in Magician and all the example films are silents, but when people are making movies, they’re making talkies.

But those confusing parts are nothing compared to the rest. Magician is a political comedy thriller with a lot of magic, some quests, a love triangle, probably some of things too. Oh, right, it’s occasionally narrated by two townspeople who break the third wall to directly address the audience.

Even though director Yee’s not much for composition–Magician’s shots are adequate, but far too reliant on CG, something Kita Nobuyasu can’t seem to shoot–he does keep the circus together. Especially after Tony Leung Chiu-Wai shows up. Until he arrives, it seems like Magician could go anywhere (and even for a little while after he does). Once the film focuses on its tone, it gets to be a lot of fun to watch.

Leung and Lau are great together. Xun Zhou’s excellent as warlord Lau’s seventh wife who he decides is the one he really wants. Paul Chun’s funny as Lau’s scheming subordinate.

There are some great comedy interchanges; most end up being completely unpredictable.

Leon Ko’s excellent music is another big plus.

Magician is a strange, fun picture.

CREDITS

Directed by Yee Tung-Shing; screenplay by Chun Tin Nam, Lau Ho Leung and Yee, based on the novel by Zhang Haifan; director of photography, Kita Nobuyasu; edited by Kwong Chi-Leung; music by Leon Ko; production designer, Yee Chung Man; produced by Peggy Lee and Mandy Law-Huang; released by Emperor Motion Pictures.

Starring Tony Leung Chiu Wai (Chang Hsien), Lau Ching-wan (Bully Lei), Zhou Xun (Liu Yin), Yan Ni (Lei’s third wife), Paul Chun (Liu Wan-Yao), Alex Fung (Chen Kuo), Lam Suet (Li Fengjen), Daniel Wu (Captain Tasi) and Kenya Sawada (Mitearai).


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Romancing the Stone (1984, Robert Zemeckis)

So much of Romancing the Stone is perfect, when the film has bumps, they stand out. Even worse, it closes on one of those bumps. The finale is so poorly handled, one has to wonder if it’s the result of a rewrite.

Anyway, on to the glowing stuff.

The film’s a technical marvel. Zemeckis’s Panavision composition juggles the story’s action, its character moments and the beautiful scenery. Plus, he’s got Dean Cundey shooting the film. It’s stunning to watch; there’s not a single unrewarding shot.

But Zemeckis also gets how to integrate the humor. Even when the characters are in danger–for example, when villain Manuel Ojeda is fighting with protagonist Kathleen Turner–Zemeckis finds the right mix to make the threat viable yet comical side situations appropriate.

The same balance works for Danny DeVito and Zach Norman, who are also villains (Norman’s even scary sometimes), but they’re always hilarious. DeVito’s role in the film is just to give the audience something else to enjoy. Stone is big on its amusement value, starting in its first few moments with a good joke.

Turner’s excellent in the lead, though at some point her character arc about coming out of her shell thanks to Michael Douglas’s vaguely criminal, but still swashbuckling expat, falls through. It’s like a scene or three are missing.

Douglas has a lot of fun. DeVito’s hilarious. In small roles, both Alfonso Arau and Holland Taylor are outstanding. Especially Arau.

Plus, Alan Silvestri’s score’s infectious.

Stone‘s a great vacation.

CREDITS

Directed by Robert Zemeckis; written by Diane Thomas; director of photography, Dean Cundey; edited by Donn Cambern and Frank Morriss; music by Alan Silvestri; production designer, Lawrence G. Paull; produced by Michael Douglas; released by 20th Century Fox.

Starring Michael Douglas (Jack T. Colton), Kathleen Turner (Joan Wilder), Danny DeVito (Ralph), Zack Norman (Ira), Alfonso Arau (Juan), Manuel Ojeda (Zolo), Holland Taylor (Gloria), Mary Ellen Trainor (Elaine) and Eve Smith (Mrs. Irwin).


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Assault on Precinct 13 (1976, John Carpenter)

The titular assault in Assault on Precinct 13 doesn’t start until just over halfway through (and not at Precinct 13, but whatever). Until that point, Carpenter methodically lays out the elements to synthesize at the sieged police station. He introduces a tense gang situation, a new lieutenant (Austin Stoker), a convict being transferred to death row (Darwin Joston) and a man (Martin West) possibly unwisely traveling through the ghetto with his daughter (Kim Richards).

The way Carpenter portrays the L.A. ghetto is interesting. It’s empty, quiet and sometimes rather beautiful. He also treats the gang members like zombies–they don’t talk, they have no personalities. They’re just young and multiracial. Assault is a warning against young urban men of all creeds and colors.

Carpenter timestamps the scenes, bringing a scene of reality and commonplace to the film. When the timestamps finally do disappear, it’s because the audience–like the cast–is trapped.

At that point, Assault has its most beautiful sequence. The gang assaulting the police station is using silencers and, as they destroy it, the only sounds are of papers flying, windows breaking and drywall puncturing. It’s otherworldly.

When Carpenter finally does bring in the outside world, the timestamps return and the film’s changed entirely. In the midst of the rushed action, the film becomes about its characters and their relationships.

Great performances from Stoker, Joston, Zimmer and Tony Burton. Charles Cyphers has a nice smaller role. Excellent photography from Douglas Knapp, amazing editing from Carpenter.

Assault‘s a masterpiece.

CREDITS

Written, directed and edited by John Carpenter; director of photography, Douglas Knapp; music by Carpenter; produced by J. Stein Kaplan; released by Turtle Releasing.

Starring Austin Stoker (Ethan Bishop), Darwin Joston (Napoleon Wilson), Laurie Zimmer (Leigh), Martin West (Lawson), Tony Burton (Wells), Charles Cyphers (Starker), Nancy Kyes (Julie), Peter Bruni (Ice Cream Man), John J. Fox (Warden), Marc Ross (Patrolman Tramer), Alan Koss (Patrolman Baxter), Henry Brandon (Chaney) and Kim Richards (Kathy).


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Superman and the Mole-Men (1951, Lee Sholem)

Superman and the Mole Men is somewhat hard to watch–and not because of the goofy mole people costumes. The bad guys in the film aren’t the mole men, but the evil redneck townspeople who hunt them down. Mole Men runs less than an hour (a theatrical pilot for the “Adventures of Superman” TV series) but the constant hounding of the cute little mole men and unrelenting viciousness of main villain Jeff Corey makes it constantly uncomfortable.

The other problem is how ineffectual Superman’s presence is to quelling the viciousness. While George Reeves is pretty good as Superman, except the fists to hips stance, Robert Maxwell’s script doesn’t know what to do with him. Being super has nothing to do with Superman’s role in the picture. So an added frustration is knowing Superman should be saving the little mole men, but isn’t because Maxwell’s got him giving nonessential speeches.

As Kent, Reeves’s wink-wink performance doesn’t play well. When he’s giving a straight performance as a newspaper reporter, he’s a lot better. Phyllis Coates is barely present as Lois Lane; she’s not very good. Besides Corey, the best supporting work is from Walter Reed.

Clark Ramsey’s photography is weak. Sholem’s direction is competent enough. Mole Men‘s real villain is its small budget. The mole men had been running around ten minutes before I realized their sweatsuits were supposed to be their fur.

Darrell Calker’s score is nice.

Mole Men isn’t good, but it’s definitely has some good things about it.

CREDITS

Directed by Lee Sholem; screenplay by Robert Maxwell, based on characters created by Joe Shuster and Jerry Siegel; director of photography, Clark Ramsey; edited by Albrecht Joseph; music by Darrell Calker; produced by Barney A. Sarecky; released by Lippert Pictures.

Starring George Reeves (Superman / Clark Kent), Phyllis Coates (Lois Lane), Jeff Corey (Luke Benson), Walter Reed (Bill Corrigan), J. Farrell MacDonald (Pop Shannon), Stanley Andrews (The Sheriff), Ray Walker (John Craig), Hal K. Dawson (Chuck Weber), John Baer (Dr. Reed), Frank Reicher (Hospital Superintendent) and Beverly Washburn (Child).


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The Samurai of Ayothaya (2010, Nopporn Watin)

If you happened across The Samurai of Ayothaya and missed the terrible opening expository narration, you might think you found an awesome martial arts movie about a bunch of Thai Freddie Mercury impersonators in a Battle Royale situation.

Sadly, you did not. You instead found a terrible mix of a military thriller and a martial arts historical drama.

There’s nothing to recommend Ayothaya, except possibly its under two hour runtime, but the script’s the worst part of it. Every moment, every line, is either foreshadowed or just generally predictable. Director Watin really likes to speed up and slow down the film for emphasis, just in case you miss the utterly obvious events transpiring onscreen. If there were anything good about Ayothaya, Watin’s approach might suggest disgust for the viewer. But no… his filmmaking appears to be entirely earnest in its awfulness.

Lead Seigi Ozeki apparently got the job based on his bangs–he lets them do most of his acting. They don’t do a good job.

Watin’s not just bad at directing actors or its martial arts fight scenes (which are awful too), he’s generally incompetent at composition too. Chuchart Nantitanyathada’s weak photography doesn’t help either. All of Ayothaya is glossy, with hard bright lights. The film’s ostensibly going for realism; not as far as the lighting apparently. Watin’s trying to make it all look so cool and it’s impossible when the actors can’t even react naturally.

Ayothaya isn’t quite Ed Wood… but only because of CG and a budget.

CREDITS

Directed by Nopporn Watin; written by Watin, Thanatat Kongthong, Thanawat Thirayaowapapong and Viroj Sukchu; director of photography, Chuchart Nantitanyathada; edited by Sunshine Manooratana; music by Paphatsin Ketawongwat and Padej Boonlon; production designer, Anan Wantippa; produced by Salinee Phakdeephol; released by Mahagaap.

Starring Seigi Ozeki (Yamada Nagamasa), Kanokkorn Jaicheun (Jumpaa), Sorapong Chatree (Phra Khruu), Winai Kraibutr (King Naresuan), Thanawut Ketsaro (Khaam) and Buakhao Paw Pramuk (Ai-Seua).


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Interview with a Hitman (2012, Perry Bhandal)

It feels like whole parts of Interview with a Hitman are missing. A major supporting character will be revealed in the present action, grown up from a little kid in one scene in the flashback. There’s probably a good ten minutes of exposition missing from the picture.

It might explain why, when it’s not full of bad dialogue, Hitman is such a beautifully made film. Director Bhandal can’t write dialogue whatsoever (he also doesn’t even know when he’s got half a good scene–he just goes on and runs it with more talking), but the plot sometimes feels like After Hours with a hitman. Great music from Dan Teicher, just phenomenal. Hitman works best when there’s no talking, just Teicher’s music, Ben King and Harry Skipp’s sublime editing and Richard Swingle’s lovely photography. It’s like Bhandal realized, in post, he couldn’t tell his story straightforward because of the writing and acting fails, so he let it at least partially succeed through exceptional work from his crew.

Luke Goss plays the lead as an adult and he’s middling. He’s good when he doesn’t have any lines. He’s particularly bad during the terribly written narration. Still, he’s leagues ahead of Elliot Greene, who plays the same character as a child. Greene’s terrible.

Caroline Tillette’s good as Goss’s love interest, Danny Midwinter’s all right, Philip Whitchurch is good.

The obvious finish fails some of the actors’ good work and there’s a lot terrible about it. But there’s a lot good about Hitman too.

CREDITS

Written and directed by Perry Bhandal; director of photography, Richard Swingle; edited by Harry Skipp and Ben King; music by Ben Teicher; production designer, Mickaela Trodden; produced by Dean Fisher; released by Kaleidoscope Film Distribution

Starring Luke Goss (Viktor), Caroline Tillette (Bethesda), Stephen Marcus (Traffikant), Danny Midwinter (Sergei), Philip Whitchurch (Tosca), Patrick Lyster (Xavier), Ray Panthaki (Franco), Uriel Emil Pollack (Alexandru) and Elliot Greene (Young Viktor).


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A Good Day to Die Hard (2013, John Moore)

Bruce Willis embarrasses himself in A Good Day to Die Hard. Not a lot, but enough the movie’s occasionally uncomfortable. Usually when it reminds of the previous Die Hard entries. But not when it actually references the previous entries–strangely enough those sequences tend to work.

This entry drops Willis into a big dumb spy action movie, which isn’t a terrible idea. Willis follows around spy son Jai Courtney, messing up a secret mission, and that concept works. Especially when Willis finds it easier to bond with Sebastian Koch, who plays the asset Courtney’s protecting. Those scenes allow Willis to show his age, which Day otherwise ignores.

Skip Woods’s script has some good moments. Not many, but some. The movie’s not too long–Day truncates its first act to about ten minutes and the subsequent eighty-five play speedily. It’s often dumb, always contrived, but never boring.

And not being boring is a bit of a surprise, since John Moore’s an inept director. He knows how to compose a shot, but not a scene. He likes pointless slow motion a lot, like it makes up for his lack of skill or personality. There’s a lengthy car chase through Moscow as the first action set piece. It should be great but Moore completely bungles it.

Koch is great, Radivoje Bukvic’s a decent villain, Courtney’s okay.

It wouldn’t have taken much for Day to have been better–just a different director and Bonnie Bedelia. Bedelia’s narratively inexplicable absence does Day irreparable damage.

CREDITS

Directed by John Moore; screenplay by Skip Woods, based on characters created by Roderick Thorp; director of photography, Jonathan Sela; edited by Dan Zimmerman; music by Marco Beltrami; production designer, Daniel T. Dorrance; produced by Alex Young; released by 20th Century Fox.

Starring Bruce Willis (John McClane Sr.), Jai Courtney (John McClane Jr.), Sebastian Koch (Komarov), Yuliya Snigir (Irina), Radivoje Bukvic (Alik), Cole Hauser (Collins), Amaury Nolasco (Murphy) and Sergei Kolesnikov (Chagarin).


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Wildcat Bus (1940, Frank Woodruff)

Wildcat Bus is a tepid b picture about corruption in the hired car business. A group of bad guys–they run an unlicensed car firm–go after sweet old Oscar O’Shea’s bus company. It all hinges on a bankrupted blue blood (Charles Lang), his trusty sidekick (Paul Guilfoyle) and O’Shea’s daughter (Fay Wray).

If Wildcat weren’t so earnest about its story, the film might be good for a laugh. Instead, thanks to the serious nature of its approach, it’s a frequently lame outing. There is a fantastic chase sequence in the third act, however, which shows more directorial skill from Woodruff–not to mention editing competency from George Crone–than the rest of the film. Unfortunately, the good sequence doesn’t turn Wildcat around. It’s just an island.

Woodruff’s utterly incapable of directing actors. Lang and Wray are both appealing, but neither are good. Guilfoyle manages to be both, as he apparently required less direction. Some of the bad guys–Don Costello in particular–are good. Though Leona Roberts is terrible as the lead villain.

The picture runs just over an hour and they apparently saved money by not showing any moving cars during the first act. That budget constraint at least gave Wildcat some personality; it gets worse when there’s actual action (until that great pre-finale chase).

Speaking of the finale, it’s idiotic and more appropriate for slapstick. There’s a good joke or two–definitely one, I might be misremembering another.

It’s not worth investing the hour in Wildcat.

CREDITS

Directed by Frank Woodruff; written by Lou Lusty; director of photography, Jack MacKenzie; edited by George Crone; music by Roy Webb; produced by Cliff Reid; released by RKO Radio Pictures.

Starring Fay Wray (Ted Dawson), Charles Lang (Jerry Waters), Paul Guilfoyle (Donovan), Don Costello (Sid Casey), Oscar O’Shea (Charles Dawson), Leona Roberts (Ma), Frank Shannon (Sweeney), Paul McGrath (Stanley Regan), Joe Sawyer (Burke), Roland Drew (Davis) and Warren Ashe (Joe Miller).


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