Rambo: First Blood Part II (1985, George P. Cosmatos)

Rambo‘s pretty awful. It’s not terrible–not too terrible to watch anyway (at least once, though New York Times critic A.O. Scott should probably be fired for supporting it to any degree). The main technical fault lies with George P. Cosmatos, who somehow managed to stock the crew with capable people (editor Mark Goldblatt is no slouch and Jack Cardiff–you know, the Archer’s cinematographer–shot it), but can’t shoot an action scene, establishing shot, anything. The second unit stuff of the helicopters is the best composition in the movie. The next big problem, then, lies with the script. And not even Stallone’s political commentary, which I’ll save for its own paragraph. No, the problem with the script is the movie’s mostly action after fifty minutes. Forty or so minutes of chase scenes and shooting and explosions. None of these things, of course, look good. Cosmatos is awful at shooting them.

Next problem, the cast. Richard Crenna’s terrible, Charles Napier’s terrible, Martin Kove’s terrible, Julia Nickson-Soul is terrible. Steven Berkoff’s poorly directed but he at least appears to be having fun. Stallone’s okay for some of it… not when he’s talking, not when he’s romancing Nickson-Soul. But when he’s running around, he’s okay. Not when he’s got the big gun either. It just looks too absurd.

As for the film’s politics, they’re incredibly confused (if strangely well-meaning). So confused–and the movie is such an absurd vehicle for political commentary–it’s hard to take them seriously. Stallone pushes and pulls in every direction. Each one of Rambo’s painful moments of political insight is invalidated by the next and it’s somewhat offensive–given the whole movie is about POWs still in Vietnam–Stallone takes the spotlight for himself at the end, instead of acknowledging–in the movie’s reality–there are a dozen or so men about to go home after twenty years in a prison camp.

Luckily, Rambo’s final speech is so dumb and brother Frank Stallone’s song is so awful, it’s impossible to dwell much on Rambo: First Blood Part II… thinking too hard about it, trying to unravel Stallone’s contradictory ideas, trying to understand why Rambo falls in love with Nickson-Soul in four and a half seconds… it hurts the brain.

Leviathan (1989, George P. Cosmatos)

Leviathan has to be one of the few films where the hero punches out a woman for audience satisfaction, which is actually quite an achievement for the film, since it’s so derivative. Leviathan is Alien, John Carpenter’s The Thing, and Peter Hyams’ Outland rolled together, with an amazing 1980s cast kneaded into the dough–there’s Ernie Hudson from Ghostbusters, Daniel Stern in his final, pre-Home Alone role, and Lisa Eilbacher from Beverly Hills Cop. Stern essentially plays his Home Alone role and Eilbacher isn’t particularly good (but, the good heavily outweighs the bad), but Hudson’s likable. The script gives the actors a little something–quirks, good speeches, anything to establish them in a couple minutes.

Leviathan is one of David Webb Peoples’ genre scripts. Peoples is known for Blade Runner, Unforgiven, and Twelve Monkeys, but he also wrote a lot of other sci-fi stuff that ended up getting made. Leviathan is actually a rather well-constructed film. It’s tense when it’s supposed to be tense and it never takes itself too seriously–though it would be hard, since Peter Weller is well-aware of what he’s doing (I think he once said he took the role so he could get a free trip to Italy). There’s even character establishment well into the second act, which I always like, coming out naturally instead of being explained to the audience. The script’s far from perfect–it prejudges Stern’s character, making it impossible for the audience to care about him.

When I worked at a video store, I once recommended Leviathan to someone over The Abyss (they came out at the same time). I caught hell for it from the customer and from a co-worker, but there’s nothing wrong with Leviathan. It’s beautiful–shot by Alex Thomson of all people–it’s ninety-six minutes of dumb fun with no glaring faults. Weller is always an interesting lead actor, it’s probably Richard Crenna’s finest work (Alien³ is actually derivative of Leviathan when it comes to medical officers), and Amanda Pays is good in the film. I rented it after I watched Dead on the Money and she’s actually good for a lot of Leviathan–she relates better to the film camera than the TV camera.

So, I feel rather vindicated. Now, I’m not recommending Leviathan, but there wouldn’t be anything wrong with it if I was….