Tag Archives: Bruce Willis

The Fifth Element (1997, Luc Besson)

Posted on 8 October 2007 | Leave a comment

The last time I saw a Luc Besson movie and thought it was really good, I tried watching Joan of Arc. Then I stopped exploring his filmography. This time, therefore, I’m prepared. I haven’t seen The Fifth Element in years and I’m not sure why. Considering its cast, it’s something of a breath of fresh air. Ian Holm has either disappeared from cinema in the last five years or I’m just no longer seeing movies he acts in anymore, which is entirely possible. So it was really nice to see him (I feel terrible, like I’m suggesting he’s turned in to Brian Cox or someone–I’m sure he hasn’t). Bt the film also features Chris Tucker’s incredibly annoying, which is the point, performance and I remember it made me wish he’d do other supporting roles like it. then he got really big so it’ll never happen. Too bad.

But the film also features a great Bruce Willis performance. It’s so much fun–Willis has his action hero schtick, but Fifth Element finally lets him do it in a comedy and a good one. The most impressive thing about the film, besides Eric Serra’s music maybe, is Besson’s understanding of timing. for a film with major pacing issues (more in a second), The Fifth Element is perfectly timed. Willis and Milla Jovovich really work well together in the film because Willis is able to alternate from a caring, paternal figure (gee, wonder if the age difference has anything to do with it?) and the romantic interest and because Jovovich’s character is an alien, his concern works. I don’t think he’s ever done so much work as a romantic lead as he does in this one and he’s great. Jovovich is also quite good–and not for the female action star reasons she’s good today, which suggests Besson just directed her well and maybe the role wasn’t very hard. But she’s good.

Now for the two problems. First, whoever they got to do the voice of Bruce Willis’s mother on the phone was the wrong choice. His character doesn’t work with an annoying mother. Maybe if he had an Uncle Leo, but not a mother. every time it comes up (three times, I think) it wallops the film with an aluminum baseball bat.

The second problem has to do with the pacing. Like I said, the film is perfectly timed–it’s one of those “hang out” movies Tarantino says he wants to make and never seems quite able to pull off–but it’s too slight. It’s too fast for everything going on and needs another fifteen minutes throughout. The ending is great in a way I’d see more Luc Besson films if I didn’t know better, but it’s not as good as it could be… the material before it doesn’t deserve it.

Willis… Jovovich… Holm… Tucker… I need to say something about Gary Oldman. Oldman’s gotten to be something of a punch-line (well, not really something of one) in the last ten years, but he’s fantastic as a villainous French (?) industrialist who speaks with a Texas accent. Either he had a great time doing it or he faked it really well. He is fun to watch in the film, just to see what he’s going to do next, which no longer describes his acting at all.

Maybe I’m just in the mood for long films right now, but I didn’t want The Fifth Element to end. I was enjoying it too much (Besson and Robert Mark Kamen, who write terrible action movies together, somehow turned in a fantastic script).

But, still… I must remember… never, ever try to watch Joan of Arc.

3.5/4★★★½

CREDITS

Directed by Luc Besson; written by Besson and Robert Mark Kamen, based on a story by Besson; director of photography, Thierry Arbogast; edited by Sylvie Landra; music by Eric Serra; production designer, Dan Weil; produced by Patrice Ledoux; released by Columbia Pictures.

Starring Bruce Willis (Korben Dallas), Gary Oldman (Zorg), Ian Holm (Cornelius), Milla Jovovich (Leeloo), Chris Tucker (Ruby Rhod), Luke Perry (Billy), Brion James (General Munro), Tommy ‘Tiny’ Lister (President Lindberg), Lee Evans (Fog), Charlie Creed-Miles (David), Tricky (Right Arm), John Neville (General Staedert), John Bluthal (Professor Pacoli) and Mathieu Kassovitz (Mugger).

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Posted in 1997, Action, ★★★½, Color, Columbia Pictures, English, France, German, Sci-Fi, Swedish, Thriller

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Twelve Monkeys (1995, Terry Gilliam)

Posted on 17 September 2007 | Leave a comment

Twelve Monkeys is one of the more unhappy films. Unhappy films are difficult to pull off–The Godfather Part II is the finest example–but Monkeys does it. When I say unhappy, I don’t mean a sad ending or an unpleasing one or an unrewarding one. Not even a cynical or downbeat one. An unhappy film, if it does its job, sucks the empathy from the viewer and chucks it in an incinerator. The unhappy film leaves the viewer spent and unwilling to try again. They’re tragedies in the truest form and films, being the most commercial form of fiction–in a reasonable sense, I’m not counting television (with some notable exceptions, of course)–tend not to go too far in to real tragedy. A person wouldn’t want to see it again or, more modernly, double-dip on the DVD releases. To do it right is to make an experience worth the draining effect. These films are not infrequent (at least not during the period Monkeys was made), but they are somewhat occasional.

Monkeys has something else to make it a rarity, anyway. It has a script from David Webb Peoples, who hasn’t had a new script produced since Monkeys came out in 1995. While Gilliam might bring the mood of the film, the sets, the warped technology (and, according to IMDb, Willis and Pitt’s excellent performances), the Peoples (and Peoples, written with his wife) script brings the perfect plot structure–including a fantastic, three-act structured forty minute first act–and the romance.

If Gilliam is responsible for getting Willis’s great performance out of him, the Peoples got the stunning work out of Madeleine Stowe. I’m a big Stowe fan, lamenting her absence from cinema on a weekly basis, but I’d forgotten her performance in this film. It’s easily one of the finest performances in the 1990s, but probably since then too. Stowe’s function in the film is to convince the audience and she takes it to a level beyond, the one where it’s possible for Twelve Monkeys to be so depressing, but also so rewarding.

The film moves through time and frequent settings–whether the future or mental hospitals–the first act definitely establishes some common grounds. Then Stowe and Willis go on the road–the only defect has got to be some of the blue-screened driving composites, I was hoping they were some homage to Hitchcock, but I don’t think so–even though the settings still repeat and become the familiar, the terrain the film crosses in to is new. There’s a scene in the woods with Stowe and Willis fighting–she’s kicking him–and I realized I was watching a wholly unique moment of cinema. The best moment in the film, direction-wise, is that scene in the woods (as well as the scene returning to the woods). Gilliam is showing the viewer something he or she cannot see anywhere else; more, it’s impossible to incapsulate–to get the most from that scene, one has to watch what comes before and what comes after, regardless of how it turns out–which is what makes Twelve Monkeys one of those films. The rewards are in appreciating it.

Sometimes I think I’m remembering wrong and the 1990s wasn’t such a superior decade for filmmaking. Then I watch a film like Twelve Monkeys.

4/4★★★★

CREDITS

Directed by Terry Gilliam; written by David Webb Peoples and Janet Peoples, based on the film La Jetée by Chris Marker; director of photography, Roger Pratt; edited by Mick Audsley; music by Paul Buckmaster; production designer, Jeffrey Beecroft; produced by Charles Roven; released by Universal Pictures.

Starring Bruce Willis (James Cole), Madeleine Stowe (Kathryn Railly), Brad Pitt (Jeffrey Goines), Christopher Plummer (Dr. Goines), David Morse (Dr. Peters), Frank Gorshin (Dr. Fletcher), Jon Seda (Jose) and Joseph Melito (Young James).

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Posted in 1995, ★★★★, Color, English, Mystery, Sci-Fi, Thriller, Universal Pictures, USA

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Live Free or Die Hard (2007, Len Wiseman)

Posted on 5 July 2007 | Leave a comment

Remember the “Simpsons” episode where Bart watches ‘Die Hard’ jump out the window? Live Free or Die Hard–the title, incidentally, has nothing to do with the film’s content–is the first one where I expected McClane’s nickname to be ‘Die Hard.’ They come close in terms of self-reference….

Still, as a Die Hard movie, it’s about as good as a Die Hard movie featuring Bruce Willis versus a fighter jet is going to get. It’s really well cast, which carries a lot of the film. Much like the third one, it follows the short codas of the first two–which are fine for those (i.e. with Bonnie Bedelia–has everyone else forgotten the first two Die Hard movies are like a Thin Man on angel dust?)–but the movie doesn’t have a closed narrative. It has a fake ending, not going on long enough. The immediate action is resolved, then it just stops.

That good casting is necessary–and Len Wiseman’s enthusiastic direction is helpful–because the writing is terrible. Willis has some good lines and he and Justin Long have some good scenes, but it’s incredibly stupid. The Die Hard movies kept their predicaments small and manageable–even the third one kept it within reason–but Live Free is crazy big: it’s the end of the world as we know it (something left unresolved).

For half the movie, I felt like the script came from John Carpenter’s unmade Escape from Earth.

It isn’t just the dumb ideas, but a lot of the setups. McClane’s stalking his daughter in this one, which makes little sense (especially since the image of him alone, his heroism costing him everything–conjured by a discussion–is so much more striking). Luckily, there’s a lot of decently executed action. Die Hard movies always create an aura of reality, usually because of Willis’s performance and the production design–and he makes the unbelievable Live Free palatable.

As a director, Wiseman has no personality, but he incorporates CG well enough. As a Die Hard movie with CG, which means it’s fundamentally broken but it is what it is and it’s fine.

Cliff Curtis, Mary Elizabeth Winstead and Timothy Olyphant are all fine. Curtis is sturdy, Winstead is fiesty and Olyphant is hissable (if a little foppish).

As for McClane versus the fighter jet… it’s the kind of ‘too much’ even Willis can’t ground. Combined with that flimsy ending… There’s also the issue of Wiseman’s blue filters, which I won’t expand on, since I want to end on a high note:

Live Free or Die Hard isn’t the best it could be, but it’s far from the worst. It’s fine.

1.5/4★½

CREDITS

Directed by Len Wiseman; written by Mark Bomback, based on a story by Bomback and David Marconi; director of photography, Simon Duggan; edited by Nicolas de Toth; music by Marco Beltrami; production designer, Patrick Tatopoulos; produced by Michael Fottrell; released by 20th Century Fox.

Starring Bruce Willis (John McClane), Timothy Olyphant (Thomas Gabriel), Justin Long (Matt Farrell), Cliff Curtis (Bowman), Maggie Q (Mai) and Mary Elizabeth Winstead (Lucy McClane).

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Posted in 2007, 20th Century Fox, Action, ★½, Color, Crime, English, French, Italian, Thriller, UK, USA

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Hostage (2005, Florent Emilio Siri)

Posted on 10 April 2007 | Leave a comment

Hostage, towards the end, plays a little like a Die Hard movie, which isn’t surprising, since Doug Richardson did write it (he also wrote Die Hard 2) and Willis, who’s good in Hostage, is usually best in… well, Die Hard movies, actually. Like those films, Hostage lets him emote and he does a good job with it. When he’s doing the sly, wink-wink Bruce Willis, which he only does two or three times in Hostage, he’s irritating. But this film does contain one of his better recent performances.

I saw the film for director Siri and from that aspect, it was a little disappointing. There are some great shots, but Hostage‘s story constraints (hostage situation in a mountain house) don’t really allow for much. The scenes when the story’s away from the hostage situation, especially at the beginning, are much better. The house scenes are all nice and fine, but they aren’t interesting, much less dynamic.

The film attempts to complicate a hostage situation with a couple quirks–first, Willis is a burnt-out hostage negotiator turned small town police chief and second, the hostage is a mob accountant so the mob takes Willis’s family hostage. Obviously, the latter is going to affect the story a great deal, but Willis’s traumatic experience, shown in the opening, has absolutely nothing to do with the rest of the film, or even his character. He could have just given up on L.A. because the small town has good fishing and it wouldn’t have made a difference. The problem with the second situation–which makes it feel like that Die Hard sequel–is Serena Scott Thomas, who plays Willis’s wife. She’s so inept, it’s impossible to feel any empathy for her. The rest of the cast is fine. Ben Foster’s great as a psychopath, even if the role is a little undercooked, writing-wise. Of all the people in the film, he’s the one who gets the most to do and he takes advantage of that situation.

As far as mediocre, harmless Bruce Willis thrillers (that lost 1990s genre) go–Hostage is a fine return to form. Its greatest fault is when, scene-to-scene, there’s some potential and then the film doesn’t follow through. Usually, all that potential’s from Siri, but there are some really nice character relationships in the thing, and the finite story-time–maybe ten hours–don’t let them resolve. But, still, it’s harmless, even if the opening credits are an unbelievably stylized eyesore.

1.5/4★½

CREDITS

Directed by Florent Emilio Siri; written by Doug Richardson, based on the novel by Robert Crais; director of photography, Giovanni Fiore Coltellacci; edited by Olivier Gajan and Richard J.P. Byard; music by Alexandre Desplat; production designer, Larry Fulton; produced by Bruce Willis, Arnold Rifkin, Mark Gordon and Bob Yari; released by Miramax Films.

Starring Bruce Willis (Jeff Talley), Kevin Pollak (Walter Smith), Ben Foster (Mars Krupcheck), Michelle Horn (Jennifer Smith), Jimmy Bennett (Tommy Smith), Jonathan Tucker (Dennis Kelly), Marshall Allman (Kevin Kelly), Serena Scott Thomas (Jane Talley), Kim Coates (The Watchman) and Rumer Willis (Amanda Talley).

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Posted in 2005, ★½, Color, Crime, Drama, English, Germany, Miramax Films, Thriller, USA

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Lucky Number Slevin (2006, Paul McGuigan)

Posted on 8 April 2006 | Leave a comment

Critics enjoy ruining movies on the day of release. They must–Roger Ebert gives away more endings then not (he gave away The Sixth Sense of all things). Worse, however, is when critics spoil the experience for the audience. I read a couple reviews of Lucky Number Slevin today and one said it’d have audiences picking it apart like they did Memento. Besides the incredibly odd image of anyone exerting brain power on Memento, this review put me on my guard during Slevin and it wasn’t fair of it to do so… There is a twist in Slevin, but you’re supposed to figure it out–heck, you’re supposed to figure it out really, really early. I figured it out late because I kept waiting for Patrick Duffy to take a shower. The twist isn’t what the movie’s about, it isn’t the filmmakers’ focus. In other words, last time I read that critic….

Lucky Number Slevin is Josh Hartnett and Paul McGuigan’s second film together, after Wicker Park. They’re an odd pair, or at least were when they got together–McGuigan makes tough violent films and Hartnett was, at that time, about to become Brett Ratner’s Superman. Slevin is easily McGuigan’s best film, just because he’s got so much to do–it’s not just witty banter between crooks or violent scenes or even an incredibly touching love story (the date in Slevin is the best movie date in years)–but it’s also a serious story about fathers and sons. I actually can’t wait to watch Slevin again, because without the fear of the Duffy, I can appreciate the film’s depth. It’s touching in small moments, small ways, ways maybe one cannot understand the first time through… maybe that critic was correct in that regard.

Still, for the first viewing, Slevin is constantly entertaining. There’s a slow start at the beginning, but once Hartnett appears, it starts. Nicely, it starts with Lucy Liu (as the love interest) popping in. She and Hartnett are great together in the film, but their relationship is so well written it’d be hard for them to be bad together. The other acting is all excellent, particularly Ben Kingsley. It’s his loosest role and he has a great time with it. Morgan Freeman is good, but he’s playing Morgan Freeman again. He’s been playing Morgan Freeman since Unforgiven or so. Stanley Tucci is in the film for a bit and he gets to say “fuck” again. He’s got one particularly great scene with it. Bruce Willis has a difficult role, since he’s supposed to be the enigma, but he manages to do a couple nice things with it. Hartnett’s back in his usual, excellent form (Mozart and the Whale seeming like a high school play).

I remember the back of my Sabrina (the remake) laserdisc. It said, approximately, everyone knows what’s going to happen, so the joy of Sabrina is watching it happen. I might not have predicted everything in Slevin (though the fiancée did), but I certainly did enjoy watching it unfold–McGuigan does a masterful job with it. He’s getting to be a singular talent.

3/4★★★

CREDITS

Directed by Paul McGuigan; written by Jason Smilovic; director of photography, Peter Sova; edited by Andrew Hulme; music by J. Ralph; production designer, François Séguin; produced by Chris Roberts, Christopher Eberts, Kia Jam, Anthony Rhulen, Tyler Mitchell and Robert S. Kravis; released by Metro-Goldwyn-Mayer.

Starring Josh Hartnett (Slevin Kelevra), Bruce Willis (Mr. Goodkat), Lucy Liu (Lindsey), Morgan Freeman (The Boss), Ben Kingsley (The Rabbi), Michael Rubenfeld (Yitzchok), Peter Outerbridge (Det. Dumbrowski), Stanley Tucci (Det. Brikowski), Kevin Chamberlin (Marty), Dorian Missick (Elvis), Mykelti Williamson (Sloe) and Scott Gibson (Max).

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Posted in 2006, ★★★, Color, Crime, English, Germany, Metro-Goldwyn-Mayer, Thriller, USA

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16 Blocks (2006, Richard Donner)

Posted on 17 March 2006 | Leave a comment

Bruce Willis has had more comebacks–commercial and artistic–than any actor I can think of… Pulp Fiction was artistic, Die Hard: With a Vengeance was a commercial one, The Sixth Sense was both (his performance any way), and he’s due. (I just realized, the trips tend to come with comedic ventures). 16 Blocks is probably not his best performance–though he’s excellent–but it is the first sign he’s going to age gracefully. Willis’s generation of actor–and even the one before his, if Harrison Ford is any indication–has been rather uncomfortable with the whole aging process. It’s always these fifty year-olds with three year-old babies. None of those perks for Willis in this film. He’s fat and slow and, even when he gets going, he never really moves fast.

The film is far from perfect–it’s got an intense set-up and the first forty-five minutes were incredibly smart, the film kept the audience in the dark, letting the actors do their work. It’s not quite a real-time film, which is good, since those never really work out, but there’s too much thrown into the film… too much construction. Richard Wenk writes good dialogue and good characters, but he runs out of situations. He also plays three major tricks on the audience, all but one are expected, but the film’s so affable it’s impossible to get upset with it.

Mos Def contributes a lot to the affability and he and Willis are great together, with Willis actually doing different work than he usually does in his buddy films. David Morse, of course, turns in the best performance. Watching this guy chew gum is amazing….

There’s also the playful tone Donner takes with the film. Donner knows how to make a film entertaining and never takes 16 Blocks off track. The editing is good and the cinematography is great–so good I thought I’d recognize the name, but did not. It’s a lower budget film for Donner, who–I think–put together the financing himself, and it’s a practice he should stick with. He knows what he’s doing.

3/4★★★

CREDITS

Directed by Richard Donner; written by Richard Wenk; director of photography, Glen MacPherson; edited by Steven Mirkovich; music by Klaus Badelt; production designer, Arv Greywal; produced by Avi Lerner, Randall Emmett, John Thompson, Arnold Rifkin and Jim Van Wyck; released by Warner Bros.

Starring Bruce Willis (Jack Mosley), Mos Def (Eddie Bunker), David Morse (Frank Nugent), Cylk Cozart (Jimmy Mulvey) and David Zayas (Robert Torres).

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Posted in 2006, Action, ★★★, Color, Crime, Drama, English, Germany, Thriller, USA, Warner Bros.

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Sin City (2005, Frank Miller and Robert Rodriguez), the extended version

Posted on 13 January 2006 | Leave a comment

When Sin City came out in the theater, three people told me to go see it. One of them had an opinion of film I respect, one had an opinion of it I–at the time–had no argument with, and one had an opinion I most definitely did not respect. But I’d read interviews with Robert Rodriguez where he said he intended the films to be viewed as separate stories (much like Pulp Fiction, which is Sin City’s obvious inspiration–at least in terms of casting). One of the Weinstein Brothers, I believe, convinced Rodriguez the film’s audience were essentially dumb and couldn’t handle the stories separate, so spliced together they went. So I waited for the special edition DVD, which has all three films in their entirety….

Unlike Pulp Fiction, which has three stories and shared characters, Sin City isn’t the same movie from part to part. Rodriguez was never a particularly intelligent filmmaker, something Tarantino always has been. In fact, reading on IMDb that it was Tarantino’s idea for Clive Owen to talk his monologue–truly the best moment in the film–makes a lot of sense now. I thought it was just a moment of the comic book that wasn’t tripe.

I actually have a bunch of notes on Sin City, because some of the acting was so awful I had to make a list. Here’s the list, with some comments.

Elijah Wood. He doesn’t have any lines, but he doesn’t have a bad-ass, or even psycho scare. His casting is a goofy, poor choice. All Sin City proved was that he shouldn’t have made it past child acting, which Ash Wednesday already did.

Rosario Dawson is AWFUL.

So is Rutger Hauer.

So is Jessica Alba (in the cameo during Marv’s story).

Benicio Del Toro was laughingly bad. So was Brittany Murphy, but she was irritating. Watching Del Toro in Sin City is like… try to imagine Robert DeNiro as Robin (as an eleven year-old). It’s embarrassing. The Del Toro/Murphy scene is actually painful. A lot of the acting in Sin City is like it–it’s unbelievable that Rodriguez expects it to be taken seriously and not as a bad imitation of a car commercial.

Alexis Bledel–awful. She might give the worst female performance.

Michael Madsen is astoundingly bad. I always used to–when I was a teenager–confuse him with Tom Sizemore. The difference is not that Sizemore is good (he’s better than good), but that he’s actually capable of acting. Madsen isn’t.

Now, on to the good performances. Anyone turning in a good performance in this film must be amazing. The dialogue is so piss poor, they have to be.

Both Josh Hartnett and Marley Shelton are good in their little intro sequence (Hartnett probably has the easiest time with the narration, because his is the shortest and, therefore, the best).

Mickey Rourke is fantastic, but the makeup is a bad idea. The whole “translation” of the comic book idea is stupid (and certainly testifies to Rodriguez’s inherent limitations). The comic book is not perfect–the writing is occasionally all right, but most of the dialogue and narration is awful. Miller simply isn’t very good, on page or screen. Rourke manages to convey real emotion, even with his face in plastic.

Clive Owen is excellent.

Tommy Flanagan (the guy with the scar) or Nick Stahl give the best performances in the film.

Jaime King is actually all right. Maybe even good.

The Willis narration ruins the sequence, because it doesn’t give him a chance to act. Jessica Alba was nowhere near as bad (just mediocre really) as I was lead to believe, mostly because her character does absolutely nothing. Some of the Willis stuff looks real good, but that narration just kills it. Miller’s narration makes an attempt at Chandler, but it’s a poor one. He misses Chandler’s point. Its characterizations are from a B film noir–a bad one–not Chandler. Not even Hammett. It’s like he’s heard some hackneyed detective narration on a sitcom….

The special effects–the “sets” and “locations”–occasionally work, but they mimic reality, but don’t seem to intend to–so when something is incredibly unreal, it sticks out. Like cars. Amusingly, the visual design (from Miller’s comic) has cops out of Batman: The Dark Knight Returns, with full body armor, driving old cop cars to fit in with the 1950s motif.

I actually didn’t dislike Sin City. It’s certainly the best comic book movie in the last few years (since Hellboy, I suppose, then all the way back to Batman Returns or something). It’s just not very good–it’s like Pulp Fiction, but with a bunch of actors from the WB. There’s rarely any real human emotion to it and there’s a constant attempt to be “cool.” Pulp Fiction had some similar aspirations, but it was also about wanting to screw your boss’s wife, which is a layer Sin City doesn’t have. All of its characters, for the “noirish” dialogue (out of the missing Don Knotts adaptation–sorry, translation–of The Big Sleep), all of them talk straight from id. There’s no nuance. But it’s hard to dislike just because it isn’t a real movie. It’s not a serious attempt at anything. American Pie 2 is a more serious study of the human heart in conflict with itself.

Sin City is a comic book movie and I’m using comic book as a pejorative there….

1.5/4★½

CREDITS

Directed by Frank Miller and Robert Rodriguez; special guest director, Quentin Tarantino; screenplay by Frank Miller, based on his comic book; director of photography, Rodriguez; edited by Rodriguez; music by Rodriguez, John Debney and Graeme Revell; produced by Elizabeth Avellán, Rodriguez and Miller; released by Dimension Films.

Starring Jessica Alba (Nancy), Devon Aoki (Miho), Alexis Bledel (Becky), Powers Boothe (Senator Roark), Rosario Dawson (Gail), Benicio Del Toro (Jackie Boy), Michael Clarke Duncan (Manute), Carla Gugino (Lucille), Josh Hartnett (The Man), Rutger Hauer (Cardinal Roark), Jaime King (Goldie/Wendy), Michael Madsen (Bob), Brittany Murphy (Shellie), Clive Owen (Dwight), Mickey Rourke (Marv), Nick Stahl (Roark Jr./Yellow Bastard), Bruce Willis (Hartigan) and Elijah Wood (Kevin).

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Posted in 2005, ★½, Black and White, Color, Crime, Dimension Films, Drama, English, Thriller, USA

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