Tag Archives: Bruce Davison

Spies Like Us (1985, John Landis)

Spies Like Us ought to be better. The problem is the length. Well, the main problem is the length. Donna Dixon having a big role is another problem.

The movie’s just too short. At 100 minutes, it actually should be just the right length, but there’s a lot Landis skirts over because he doesn’t have enough time.

Unfortunately, a lot of the abbrievated sequences could have laughs–the film’s front-heavy when it comes to laughs. The last act is still amusing, but it doesn’t have anything like the funnier moments from the rest of the film.

The plotting just doesn’t work–the screenwriters are never able to make Chevy Chase and Dan Aykroyd funny when they get to the Soviet Union. One problem is Dixon–she’s an unfunny third wheel–but they’re also isolated in the wilderness. Not a lot of material around.

The film has some hilarious scenes–Chase disastrously cheating for a test is great and he’s fine as a slacker moron who lucks his way into things. But in the second half, the film plays up his stupidity while establishing Aykroyd is smarter as a fake spy than many real ones. Landis never concentrates on that situation, but it’s obvious.

There’s a lot of good acting. Unfortunately, Bernie Casey isn’t as good as I expected. But Bruce Davison is great as a slimy bureaucrat.

Landis’s direction is solid if unspectacular. The film’s always racing to something, so he never gets to rest.

Decent Elmer Bernstein score too.

1/4

CREDITS

Directed by John Landis; screenplay by Dan Aykroyd, Lowell Ganz and Babaloo Mandel, based on a story by Aykroyd and Dave Thomas; director of photography, Robert Paynter; edited by Malcolm Campbell; music by Elmer Bernstein; production designers, Terry Ackland-Snow and Peter Murton; produced by George Folsey Jr. and Brian Grazer; released by Warner Bros.

Starring Chevy Chase (Emmett Fitz-Hume), Dan Aykroyd (Austin Millbarge), Steve Forrest (General Sline), Donna Dixon (Karen Boyer), Bruce Davison (Ruby), Bernie Casey (Colonel Rhumbus), William Prince (Keyes) and Tom Hatten (General Miegs).


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Justice League: Crisis on Two Earths (2010, Sam Liu and Lauren Montgomery)

The new wave of superhero cartoons for, ostensibly, adults (because they’re rated PG-13) has turned out a handful of decent pictures. The directors of this one, Montgomery and Liu, separately, directed the entirety of that handful. So I thought I’d try it for them. Plus, this one’s written by Dwayne McDuffie, who’s a comic book writer and produced that “Justice League” cartoon everyone says is so good. After Crisis on Two Earths, I’m doubtful.

The film’s not just lame or poorly plotted (the dialogue isn’t incompetent), it’s stupid. There’s no first act, but there’s a story too big not to have one. It feels like an episode of a cartoon, really. A very special episode of a cartoon, which isn’t worth my giving it the attention of something attempting to be a feature.

And Mark Harmon’s awful as Superman. James Woods’s silly as the evil Batman, but Harmon’s just terrible. He might be the ruining factor, actually. Harmon’s casting seems a result of his being a team leader on a TV show and he’s the team leader here. But his voice is old sounding, so it doesn’t match Superman’s appearance, and it’s really just not forceful enough. He doesn’t sound like Superman.

With the exception of these cartoons actually recommended to me, I only watch them because they’re short and occasionally have good voice acting and I always get some crank leaving negative comments to my negative response to the film.

Sorry, I meant cartoon. In the pejorative sense.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Sam Liu and Lauren Montgomery; written by Dwayne McDuffie; edited by Margaret Hou; music by James L. Venable; produced by Bobbie Page; released by Warner Premiere.

Starring Mark Harmon (Superman), James Woods (Owlman), Chris Noth (Lex Luthor), William Baldwin (Batman), Josh Keaton (The Flash), Gina Torres (Super Woman), Nolan North (Green Lantern / Power Ring), James Patrick Stuart (Johnny Quick), Brian Bloom (Ultraman), Jonathan Adams (Martian Manhunter) and Bruce Davison (President Slade Wilson).


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X2 (2003, Bryan Singer)

X-Men 2–sorry, X2–is one of the worst movies I’ve ever sat through, if not the worst.

Singer does a lousy job on X2. It looks like it was filmed in Canada on a restricted budget; it looks goofy and cheap. The story is idiotic and the script is terrible. There’s no good split between the characters in terms of screen time. Patrick Stewart disappears for a while, so does James Marsden.

There’s one scene with promise–when Hugh Jackman is talking with Shawn Ashmore and it’s an awkward moment. It doesn’t really fulfill any of that promise, but it’s not as bad as most of the film.

There aren’t any good performances, which is disappointing if not surprising. Ashmore gives one of the better performances. Bruce Davison’s all right. As opposed to the first one, Jackman’s not good in this one. Patrick Stewart’s bad. Halle Berry’s bad. Famke Janssen’s less bad than those two, but still bad. Ian McKellan’s not as bad as he was in the first one, but he’s still lousy. Anna Paquin’s no good. Brian Cox is awful. Alan Cumming is awful. Cotter Smith plays the President–he exudes a Canadian production.

There is the one amazing scene where Wolverine kills all the army guys–the U.S. Army is the bad guy in X2. They’re child killers. This movie’s from 2003, demonizing the U.S. Army, which is kind of ballsy. It’s a gratuitous scene and its presence in a huge Hollywood blockbuster is startling. It’s great.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Bryan Singer; screenplay by Michael Dougherty, Dan Harris and David Hayter, based on a story by Zak Penn, Hayter and Singer; director of photography, Newton Thomas Sigel; edited by John Ottman and Elliot Graham; music by Ottman; production designer, Guy Dyas; produced by Lauren Shuler Donner and Ralph Winter; released by 20th Century Fox.

Starring Patrick Stewart (Professor Charles Xavier), Hugh Jackman (Logan / Wolverine), Ian McKellen (Eric Lensherr / Magneto), Halle Berry (Storm / Ororo Munroe), Famke Janssen (Jean Grey), James Marsden (Scott Summers / Cyclops), Anna Paquin (Rogue / Marie D’Ancanto), Rebecca Romijn (Mystique / Grace), Brian Cox (William Stryker), Alan Cumming (Kurt Wagner / Nightcrawler), Bruce Davison (Senator Kelly), Aaron Stanford (John Allerdyce / Pyro), Shawn Ashmore (Bobby Drake / Iceman), Kelly Hu (Yuriko Oyama / Deathstrike), Katie Stuart (Kitty Pryde), Kea Wong (Jubilee) and Cotter Smith (President McKenna).


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X-Men (2000, Bryan Singer)

My wife wanted me to mention the only reason we watched X-Men was because she wanted to see Hugh Jackman with his shirt off… I watched it to insure she didn’t have a cardiac arrest.

Back in the old days, before IMDb edited their trivia section, the X-Men trivia featured defenses of some of the terrible performances. There was some excuse for Halle Berry’s terrible accent and another for Anna Paquin’s mysteriously appearing and disappearing one. It’s too bad IMDb got classy and took them down, because there were even more defenses and they were a lot of fun.

But if one is trapped and watching X-Men, in between parts where Hugh Jackman’s giving a fine performance, there are amusements. It’s fun to see Bryan Singer composing his shots for a pan-and-scan VHS version (faces occupy one half of the screen while empty space occupies the other or the action is in the center, with empty space on the sides). There’s also the obviously Canadian sets–which make the Statue of Liberty finale all the more amusing. I mean, X-Men is an action movie where one of the big sequences takes place in the Liberty Island gift shop. Not many movies can make that claim. Or the train station… wow, that one’s exciting.

There are more amusements, some not recognizable at the time. It’s not really an amusement, more an unfortunate reality–Michael Kamen’s embarrassing score, which would be terrible on a razor commercial, is one of his last. But on the more amusing things–like trying to take Tyler Mane seriously. The guy’s 6’8″ but the make-up and costume are so silly, he looks like he’s performing at a kid’s birthday party.

The most fun, however, is trying to figure who gives a worse performance, Patrick Stewart or Ian McKellan. The script, which has some of the worst dialogue in any major motion picture I think I’ve ever seen, does neither any favors, but I do think Stewart edges McKellan out. Though McKellan is worse, he’s in it a little bit less and doesn’t have the long expository monologues Stewart gets to deliver.

The plot is smartly bound to Jackman, which kind of makes the thing deceptively okay in parts. Thankfully, the moronic ending (it’s Malcolm X and Martin Luther King, get it?) erases any memory of his fine performance.

Speaking of performances, there really aren’t any good ones other than Jackman. James Marsden is hilariously bad, as is Berry, as is Rebecca Romijn. Famke Janssen’s bad, but nowhere near as terrible as the others. Bruce Davison, who really sets off those made in Canada flags, is awful.

I’ve seen X-Men three times now and I still don’t understand how it was a hit or how it is considered “good.” It kicked off the modern superhero movie genre, which has produced some worse entries, and maybe it just doesn’t seem as bad in comparison to those. But with the exception of Jackman, the whole thing feels like a syndicated, shot-in-Canada TV show. It’s like “RoboCop: The Series.” Only worse.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Bryan Singer; written by David Hayter, based on a story by Tom DeSanto and Singer; director of photography, Newton Thomas Sigel; edited by Steven Rosenblum, Kevin Stitt and John Wright; music by Michael Kamen; production designer, John Myhre; produced by Lauren Shuler Donner and Ralph Winter; released by 20th Century Fox.

Starring Hugh Jackman (Wolverine), Patrick Stewart (Xavier), Ian McKellen (Magneto), Famke Janssen (Jean Grey), James Marsden (Cyclops), Halle Berry (Storm), Anna Paquin (Rogue), Tyler Mane (Sabertooth), Ray Park (Toad), Rebecca Romijn (Mystique), Shawn Ashmore (Bobby Drake) and Bruce Davison (Senator Kelly).


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Runaway Jury (2003, Gary Fleder)

I thought there were no anti-conservative Hollywood films for a long while after 9/11, so I guess Runaway Jury went under the radar. It appears to have been a significant bomb and, watching it, it seemed strange to see John Grisham’s name on screen. It’s been a long time since adaptations of his novels have been blockbusters… about as long as it’s been since Michael Crichton’s name was on blockbusters.

Runaway Jury went under my radar because I figured it wasn’t going to be very good and it isn’t. The plot’s unbelievable and annoying in its false complexity. Director Fleder and his four credited screenwriters play it like Coppola never succeeded in making Grisham good with The Rainmaker and… eh. Fleder is a mediocre director. His composition isn’t bad, he likes dumb editing and he shoots New Orleans poorly. Someone had a New Orleans guide book for the shoot and Fleder barely let the city, it being one of significant character, do anything. There’s more personality from the city in the background dialogue than in Fleder’s shots. But he’s not as bad as I assumed.

The acting is questionable. Dustin Hoffman can’t keep his New Orleans accent, Gene Hackman is playing a goofy bad guy from one of his 1990s movies–though the scene with Hoffman is nice, since Hackman lets loose with some Lex Luthor style fun lunacy (even though Hoffman just stands there). John Cusack is fine, playing John Cusack once again. Rachel Weisz is okay, if occasionally dubious in her emoting.

The best thing about Runaway Jury is the supporting cast–Guy Torry, Luis Guzmán, Nick Searcy, Cliff Curtis, Bill Nunn, Leland Orser and Bruce McGill. Joanna Going suffers from a bad accent as well. The supporting cast almost makes Jury feel like it’s a big event movie (like The Rainmaker). Almost.

1/4

CREDITS

Directed by Gary Fleder; written by Brian Koppelman, David Levien, Rick Cleveland and Matthew Chapman, based on the novel by John Grisham; director of photography, Robert Elswit; edited by William Steinkamp; music by Christopher Young; production designer, Nelson Coates; produced by Arnon Milchan, Fleder and Christopher Mankiewicz; released by 20th Century Fox.

Starring John Cusack (Nicholas Easter), Gene Hackman (Rankin Fitch), Dustin Hoffman (Wendell Rohr), Rachel Weisz (Marlee), Bruce Davison (Durwood Cable), Bruce McGill (Judge Harkin), Jeremy Piven (Lawrence Green), Nick Searcy (Doyle), Stanley Anderson (Henry Jankle), Cliff Curtis (Frank Herrera), Nestor Serrano (Janovich), Leland Orser (Lamb), Luiz Guzmán (Jerry Hernandez), Jennifer Beals (Vanessa Lembeck), Gerry Bamman (Herman Grimes), Joanna Going (Celeste Wood), Bill Nunn (Lonnie Shaver), Juanita Jennings (Loreen Duke), Marguerite Moreau (Amanda Monroe), Nora Dunn (Stella Hulic), Guy Torry (Eddie Weese) and Rusty Schwimmer (Millie Dupree).


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The Dead Girl (2006, Karen Moncrieff)

I had assumed, just because of the large cast, a Nashville approach for this film. However, frighteningly, I think it might have been inspired by Rebecca Miller’s Personal Velocity (the film, not the short story collection). The stories are all independent, more about their central characters than about the event tying them together, in this case, a dead girl. The stories range in quality from terrible to mediocre. Even if they’re mediocre, they don’t have a decent conclusion. The most interesting part of these stories is what is going to happen next. In fact, in most cases, the only important thing is what is going to happen next and the film makes no assumptions. In some ways, it creates unsolvable cliffhangers for the characters… baiting the viewer with an ominous promise (the possible killer, the suicide attempt) then delivering on nothing.

There are five stories. The first two are traditional romances. The third is an awful, dumb thriller, which creates an impossible situation then cheats its way out with the end of the section. The fourth has the most promise but only in terms of what happens immediately after the story ends and then at some point in the future in those characters’ stories. The last story, which finally gets around to revealing the dead girl, is terrible, but not the worst. The way Karen Moncrieff ends it, syrupy, tragic sweet… is an offense to the good work a lot of her actors put in.

The most amazing performance in the film is easily James Franco, just because he not only doesn’t suck, he’s actually really good. He’s in the second story with Rose Byrne (Byrne being the whole reason I had any interest in the film in the first place). She’s good, but her role’s so simple, it’d be hard for her not to be good. Other good performances include Marcia Gay Harden, Josh Brolin, and Giovanni Ribisi. Terrible, unspeakable ones… well, just Mary Steenburgen, who plays a stereotypical role (just like everyone else in the film except maybe Brolin and Ribisi) and does a really bad job of it. Kerry Washington’s good when she’s not doing her Mexican accent. I guess her eyes emote well. Mary Beth Hurt and Nick Searcy have the dumbest roles in the film and there’s really nothing for them to do with them.

The Dead Girl offers absolutely nothing new to… anything. It’s a useless film, filled with decent and good performances. Moncrieff’s an adequate director in parts, but usually not. There’s nothing distinctive about her composition (something I realized in the first five minutes, never a good sign). I guess her dialogue’s okay, but the film’s a bunch of Oprah episodes strung together, which might be fine if there were some artistry or competence involved.

0/4ⓏⒺⓇⓄ

CREDITS

Written and directed by Karen Moncrieff; director of photography, Michael Grady; edited by Toby Yates; music by Adam Gorgoni; produced by Eric Karten, Gary Lucchesi, Tom Rosenberg, Kevin Turen and Henry Winterstern; released by First Look International.

Starring Josh Brolin (Tarlow), Rose Byrne (Leah), Toni Collette (Arden), Bruce Davison (Bill), James Franco (Derek), Marcia Gay Harden (Melora), Mary Beth Hurt (Ruth), Piper Laurie (Arden’s Mother), Brittany Murphy (Krista), Giovanni Ribisi (Rudy), Nick Searcy (Carl), Mary Steenburgen (Beverly) and Kerry Washington (Rosetta).


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