Tag Archives: Roger Donaldson

Species (1995, Roger Donaldson)

Roger Donaldson has these great sweeping camera shots in Species. He doesn’t restrict them to the action scenes, but uses them to dynamically bring his five principals into the frame together. It’s always beautifully done and, if one could separate Donaldson’s work from the film’s content, Species would seem a lot more impressive.

Unfortunately, the fine work of Donaldson—and editor Conrad Buff IV—is nowhere near enough to forgive the film’s problems.

First and foremost, the script is dumb. An alien civilization dupes the American government into creating an emissary and that emissary will try to wipe out the human race. Now, that idea isn’t dumb, it’s just an idea. Writer Dennis Feldman’s execution of that idea is awful though. The guy can’t write. Though I might just be blaming him more so I don’t have to be so negative about the actors.

Alfred Molina gives a good performance. Marg Helgenberger isn’t bad. Michael Madsen’s awful most of the time, but fine when he and Helgenberger are flirting. It makes one wonder what she’d have been able to do with a better costar.

Ben Kingsley and Forest Whitaker make up the rest of the principal cast. Both are terrible. Kingsley’s unimaginably bad; he’s trying a Southern accent and it fails over and over again. He’s just awful. Whitaker’s problem is the script. His character’s writing is particularly bad.

Speaking of bad, there’s some lame nineties CG in Species too.

Species is a weak film. Great direction, terrible result overall.

CREDITS

Directed by Roger Donaldson; written by Dennis Feldman; director of photography, Andrzej Bartkowiak; edited by Conrad Buff IV; music by Christopher Young; production designer, John Muto; produced by Feldman and Frank Mancuso Jr.; released by Metro-Goldwyn-Mayer.

Starring Ben Kingsley (Xavier Fitch), Michael Madsen (Preston Lennox), Alfred Molina (Dr. Stephen Arden), Forest Whitaker (Dan Smithson), Marg Helgenberger (Dr. Laura Baker), Natasha Henstridge (Sil) and Michelle Williams (Young Sil).


Related posts:

About these ads

White Sands (1992, Roger Donaldson)

It’s not hard to identify the problem with White Sands. Daniel Pyne’s script is terrible. His characters often act without motivation and the double and triple crosses he writes into the plot never have any pay-off. It doesn’t help director Donaldson sees himself–and not incorrectly to a point–doing a desert noir in the vein of Touch of Evil. But Sands is too big for a desert noir and Donaldson doesn’t have any tricks, except good Panavision composition, once the desert element runs out.

There are a lot of good performances in the film–Donaldson casted a lot of fine character actors–but Willem Dafoe is an ineffective lead. A lot of that deficiency is the script’s fault, but Dafoe doesn’t bring any implied depth. It’s a casting misfire (bad guy Mickey Rourke, who’s quite good, would have been a better lead).

Samuel L. Jackson, M. Emmet Walsh, Miguel Sandoval, John P. Ryan and Fred Dalton Thompson all provide texture to the supporting cast. Walsh isn’t doing anything new and Jackson gets off to a rocky start, but they’re fine. The only other misfire is Maura Tierney, who’s absurd.

As Dafoe’s erstwhile romantic interest, Mary Elizabeth Mastrantonio is okay. If the script were better and gave her a real part (she doesn’t even show up until a half hour in), she’d do better.

There’s excellent photography from Peter Menzies Jr. and Patrick O’Hearn’s score often makes Sands seem like a better film.

With a rewrite, it would’ve been.

CREDITS

Directed by Roger Donaldson; written by Daniel Pyne; director of photography, Peter Menzies Jr.; edited by Nicholas Beauman; music by Patrick O’Hearn; production designer, John Graysmark; produced by Scott Rudin and William Sackheim; released by Warner Bros.

Starring Willem Dafoe (Ray Dolezal), Mary Elizabeth Mastrantonio (Lane Bodine), Mickey Rourke (Gorman Lennox), Samuel L. Jackson (Greg Meeker), Miguel Sandoval (FBI Agent Ruiz), M. Emmet Walsh (Bert Gibson), James Rebhorn (FBI Agent Flynn), John Lafayette (FBI Agent Demott), Maura Tierney (Noreen), Alexander Nicksay (Ben Dolezal), John P. Ryan (Arms Dealer), Fred Dalton Thompson (Arms Dealer) and Mimi Rogers (Molly Dolezal).


Related posts:

The Recruit (2003, Roger Donaldson)

There’s a very interesting throwaway line in The Recruit. During the traitor’s confession, there’s an implication the betrayal occurred following the CIA ignoring information they could have used to prevent 9/11. Like everything related to 9/11, it’s all implied (this one is less obvious than the others), but it’s definitely there. Given the film seems like a fairytale “young CIA” movie–the “Beverly Hills 90210″ approach to it–it implies there was once a more mature film here (are CIA training procedures a matter of public record? I’m pretty sure not).

The top billed Al Pacino is doing one of his standard wizened older (not old) man roles here. He yells a little. His eyes occasionally gleam, reminding of better roles. What’s bothersome about Pacino’s paycheck roles (which he mostly does now, just like De Niro), is he’s still likable (something De Niro never had). I resent myself for enjoying his performance.

Colin Farrell is doing a leading man role–at times it’s impossible not to think of Tom Cruise in The Firm–and he’s solid. Sometimes his job is just to stare intently, other times he does actually act. He and Pacino work well together but, even the Recruit is her best performance I’ve seen, Farrell doesn’t really get anything to work with from Bridget Moynahan. But at least her performance wasn’t making me nauseous like usual.

When the movie’s decent, it fits Donaldson would be making it. When it’s not, he’s way too good for it.

CREDITS

Directed by Roger Donaldson; written by Roger Towne, Kurt Wimmer and Mitch Glazer; director of photography, Stuart Dryburgh; edited by David Rosenbloom; music by Klaus Badelt; production designer, Andrew McAlpine; produced by Roger Birnbaum, Jeff Apple and Gary Barber; released by Touchstone Pictures.

Starring Al Pacino (Walter Burke), Colin Farrell (James Douglas Clayton), Bridget Moynahan (Layla Moore), Gabriel Macht (Zack), Kenneth Mitchell (Alan) and Mike Realba (Ronnie Gibson).


Related posts:

Dante’s Peak (1997, Roger Donaldson)

Dante’s Peak came in the slight post-Twister disaster movie resurgence–and might have helped end it–but it really doesn’t know how to be a disaster movie.

Leslie Bohem’s script film follows Jaws‘s plot structure–no one listens to Pierce Brosnan’s roguish geologist (has Brosnan ever been asked to do an American accent, it seems to be part of his persona to never do one) until it’s too late–only replacing Richard Dreyfuss with Linda Hamilton as sidekick. Romance develops and Brosnan’s bachelor warms quickly to Hamilton’s two really annoying kids. They aren’t really annoying until the volcano, which means at least they’re tolerable for an hour.

When disaster does strike, it’s amusing to watch all the friendly neighbors try to kill each other to get onto the highway faster–after the movie opens saying it’s the second-best place in the country to live. Maybe in the first they’d help each other.

It’s probably Hamilton’s best film role as an actor. She’s not asked to do much (it’s a little unbelievable she could put up with her kids at the end, or her evil mother-in-law, boringly played by Elizabeth Hoffman).

The film takes place in a rural mountain town and–shockingly–never tries to show racial diversity among the town population. Nor does it try to make anyone likable; watching the disaster doesn’t encourage much emotional response. It’s boring.

Donaldson’s direction is mediocre at best (he’s not an action director) but the visual effects are good.

CREDITS

Directed by Roger Donaldson; written by Leslie Bohem; director of photography, Andrzej Bartkowiak; edited by Howard E. Smith, Conrad Buff IV and Tina Hirsch; music by John Frizzell; production designer, J. Dennis Washington; produced by Gale Anne Hurd and Joseph Singer; released by Universal Pictures.

Starring Pierce Brosnan (Harry Dalton), Linda Hamilton (Rachel Wando), Charles Hallahan (Paul Dreyfus), Jamie Renée Smith (Lauren Wando), Jeremy Foley (Graham Wando), Elizabeth Hoffman (Ruth), Grant Heslov (Greg, USGS Crew), Kirk Trutner (Terry, USGS Crew), Arabella Field (Nancy, USGS Crew), Tzi Ma (Stan, USGS Crew), Brian Reddy (Les Worrell), Lee Garlington (Dr. Jane Fox), Bill Bolender (Sheriff Turner), Carole Androsky (Mary Kelly) and Peter Jason (Norman Gates).


Related posts: