Category: Directed by Stuart Baird

Star Trek: Nemesis (2002, Stuart Baird)

Even though Star Trek: Nemesis is pretty dumb–and it is dumb, not just as a Star Trek movie, but as a movie in and of itself–and it has a lot of problems, the cast gets it through. The cast, the vague “train wreck” quality to some of its missteps (like Jerry Goldsmith either recycling his score from the not “Next Generation” Motion Picture or doing bland action movie music), some surprising pacing competency from otherwise inept director Baird and editor Dallas Puett (Puett’s no good at cutting the action scenes though, which is awkward), it all comes together to be occasionally painful, but ultimately watchable.

The problem with John Logan’s script is the stupidity. There are no good ideas in Nemesis, not Patrick Stewart having a young clone (played, poorly, by Tom Hardy–but, really, he’s acting opposite a bunch of vampires in Dune costume homages), not Brent Spiner discovering a “beta” version of his android character; maybe Jonathan Frakes and Marina Sirtis playing newlyweds is cute, but only because of their chemistry, not because of the writing.

Oddly, Nemesis looks really good. The CG is excellent. Baird’s one attempt at a planetary action sequence–involving dune buggies–is awful, with shockingly bad photography from Jeffrey L. Kimball (who does fine otherwise). The space battle stuff is good. The space establishing shot stuff is terrible.

All the acting is good. From the regular cast, anyway. Stewart’s excellent, Spiner’s good, LeVar Burton’s got a few rather good moments. Even when no one gets anything to do, like Michael Dorn and Gates McFadden. I think Whoopi Goldberg gets more to do in her cameo than McFadden gets to do in the entire picture.

It’s a weird movie, simultaneously hostile to the Star Trek franchise while entirely dependent on the viewer being interested in that franchise (and its characters). And, even though it’s bad, it’s not all bad. Stewart’s perseverance is admirable.

It’d just have been nice if the director had any idea how to shoot any of it, with the exception of the space battles, which were probably all done by the special effects people.

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.

3/4★★★

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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