Tag Archives: Andreas Katsulas

Blame It on the Bellboy (1992, Mark Herman)

Herman opens Blame It Open the Bellboy with his two weakest features—and the film’s full of weaknesses so to start with the worst ones? It’s sort of impressive he set it up to immediately stumble.

First, Andreas Katsulas’s mobster. The film takes place in Venice and Katsulas plays the only Venetian. He plays the role with an absurd New York accent. It’s an incompetent performance.

Second, Bronson Pinchot’s titular bellboy, who sets the film’s wacky events into motion by not understanding English. The surprising thing about Bellboy is the absence of a plagiarism suit as Herman rips off scenes and dialogue from “Fawlty Towers,” apparently telling Pinchot just to ape Andrew Sachs’s Manuel on that program. Unfortunately, even in someone else’s role, Pinchot can’t give a good performance.

Then the principals show up. Bryan Brown, Dudley Moore and Richard Griffiths. Griffiths is the best as minor British politician looking for sleazy romance in Venice. Brown’s an assassin, Moore’s a nebbish on assignment from a bad job. Moore actually manages to be likable; Brown barely makes an impression. In about half his scenes, he doesn’t even speak, just nods.

The female cast is Patsy Kensit, Penelope Wilton and Alison Steadman. The script response to the character enduring a sexual trauma is to make her comically unsympathetic. Steadman is initially treated well (and her performance is good) before Herman too makes her a target for audience laughter.

Only Steadman keeps afloat, giving the film’s best performance.

Herman makes a bad Bellboy.

CREDITS

Written and directed by Mark Herman; director of photography, Andrew Dunn; edited by Michael Ellis; music by Trevor Jones; production designer, Gemma Jackson; produced by Steve Abbott and Jennifer Howarth; released by Hollywood Pictures.

Starring Dudley Moore (Melvyn Orton), Bryan Brown (Mike Lawton), Richard Griffiths (Maurice Horton), Andreas Katsulas (Scarpa), Patsy Kensit (Caroline Wright), Alison Steadman (Rosemary Horton), Penelope Wilton (Patricia Fulford) and Bronson Pinchot (Bellboy).


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The Fugitive (1993, Andrew Davis)

It’s been a while since I last saw The Fugitive. I remember it didn’t impress me much, particularly Andrew Davis’s direction.

Needless to say, I was very wrong. I don’t think I’ve ever appreciated the film as much as I did this viewing. Davis’s direction is the finest action thriller direction I can recall. The film starts a breakneck pace about twenty minutes into the film and doesn’t stop… I don’t even think it stops at the end. The last scene is very quick as well.

The film’s approach to mainstream filmmaking–setting two strong actors opposite each other without making it a buddy picture–has vanished. The Fugitive doesn’t just juxtapose Harrison Ford and Tommy Lee Jones, it barely gives Ford any screen time to himself when he’s not on the run. The first twenty minutes… it’s summary storytelling. The audience doesn’t really get to know Ford until after he’s running.

Most of Ford’s scenes are by himself, either running or investigating, so it’s up to Jones. The supporting cast around Jones is a phenomenal piece of casting–Joe Pantoliano doing comic relief, obviously, is going to be good, but Daniel Roebuck has some moments too. Davis manages to give his cast great little moments without ever breaking pace.

Michael Chapman’s photography is an essential element. The film’s color scheme manages to be rich and drab at the same time.

I’m trying to think of something negative or unenthusiastic to say about the film.

I can’t think of anything.

CREDITS

Directed by Andrew Davis; screenplay by Jeb Stuart and David Twohy, based on a story by Twohy and characters created by Roy Huggins; director of photography, Michael Chapman; edited by Don Brochu, David Finfer, Dean Goodhill, Dov Hoenig, Richard Nord and Dennis Virkler; music by James Newton Howard; production designer, J. Dennis Washington; produced by Arnold Kopelson; released by Warner Bros.

Starring Harrison Ford (Dr. Richard Kimble), Tommy Lee Jones (Deputy Samuel Gerard), Sela Ward (Helen Kimble), Jeroen Krabbé (Dr. Charles Nichols), Joe Pantoliano (Agent Cosmo Renfro), Andreas Katsulas (Frederick Sykes), Jane Lynch (Dr. Kathy Wahlund), Julianne Moore (Dr. Anne Eastman), Daniel Roebuck (Agent Robert Biggs), L. Scott Caldwell (Agent Poole), Johnny Lee Davenport (Marshal Henry), Tom Wood (Agent Noah Newman) and Eddie Bo Smith Jr. (Copeland).


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Executive Decision (1996, Stuart Baird)

What the heck was my problem with Executive Decision the last time I watched it? I saw it about eight years ago and, according to my notes, was unimpressed. It’s a fantastic action movie–just the combination of editors–director Baird, Dallas Puett, Frank J. Urioste–might make it one of the tightest action movies ever made. I suppose it’s an action thriller, since the film–after a certain point–ratchets up the tension and never lets it down at all. It might be producer Joel Silver’s finest b-movie, just because it’s such a solid, intense ride. It opened in March–I remember seeing a sneak preview, then going back to see it again–but it’s a perfect summer movie.

Maybe the presence of Steven Seagal throws it a little, but he’s so inconsequential and so incongruous–the supporting cast is the best he’s ever worked with–John Leguizamo’s all right, but Oliver Platt and Joe Morton are fantastic. B.D. Wong’s really good too. This discrepancy doesn’t even get to Kurt Russell showing up in the movie… it’s like Seagal’s this little cameo thing, one without a purpose. It’s the kind of role they really should have gotten Bruce Willis to do, because he wouldn’t have brought any baggage (or Danny Glover). Seagal’s actually fine, he’s even funny at times–while never believable as an Army officer. But he gets a pass, because his parts in the movie are so disconnected from what it becomes… it’s hard to really think about him in the end.

Executive Decision is the only real Die Hard on a plane I think anyone’s made (it’s also bit of a revision on The Delta Force). The script even follows the Die Hard outline, down to J.T. Walsh offering to help negotiate and David Suchet sitting quietly. Silver knew what he was doing when he put this movie together and it’s a shame he doesn’t get appreciated for it. Baird’s a good action director, knows how to use the Panavision frame–it’s got Alex Thomson shooting some of it, so it all looks great–and the cutting is, like I said before, peerless. Maybe the Jerry Goldsmith music gets a little goofy, but it really doesn’t matter (it gets way too loud at times).

The acting’s all solid. Whip Hubley probably gives the film’s worst performance (except Halle Berry and Marla Maples and I think Maples is just there to make Berry seem like a better actress–oh, I guess Walsh is pretty lame too) but he’s okay. Russell gives one of his sturdy lead performances (I know it wasn’t a big hit, but I can’t believe they didn’t try to get a sequel into production), he’s totally believable as the Ph.D. who wants to be a pilot–I think knowing Russell is really a pilot is part of the film’s agreement with the audience, which might hinder its chance for a broad viewership–and can handle guns when he needs to… he’s Kurt Russell, after all.

The lack of chemistry between him and Berry is almost palpable and only the tightly edited, beautifully plotted climax carries the film through their scenes together. Then there’s a lull and it’s Frank Sinatra singing–much like Vaughn Monroe closes the first two (the Joel Silver) Die Hard entries–who makes everything all right.

Executive Decision is a great time.

CREDITS

Directed by Stuart Baird; written by Jim Thomas and John Thomas; director of photography, Alex Thomson; edited by Baird, Dallas Puett and Frank J. Urioste; music by Jerry Goldsmith; production designer, Terence Marsh; produced by Joel Silver; released by Warner Bros.

Starring Kurt Russell (Dr. David Grant), David Suchet (Nagi Hassan), Halle Berry (Jean), John Leguizamo (Rat), Oliver Platt (Dennis Cahill), Joe Morton (Cappy), B.D. Wong (Louie), Len Cariou (Secretary of Defense Charles White), Whip Hubley (Baker), Andreas Katsulas (El Sayed Jaffa), Mary Ellen Trainor (Allison), Marla Maples (Nancy), J.T. Walsh (Senator Mavros) and Steven Seagal (Lt. Colonel Austin Travis).


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