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Conquest of Space (1955, Byron Haskin)
I rented Conquest of Space because–according to IMDb, Kubrick credited it as a 2001 influence. There are a handful of visual elements I noticed, one as obvious as the rotating space station, one I might be making up (repairing of the antenna tower). Besides looking for these visuals, there’s not much else to engage with. Conquest of Space is ludicrously bad for most of the film. Until William Hopper showed up, there was no one in the cast I recognized. While director Byron Haskin has done good work, he doesn’t have a good way of placing people amid Conquest’s technological surroundings. The sets seem confining, but the shots are wide open. There a number of terrible, distracting edits in the film, all to and from close-up, and I don’t know if it’s Haskin’s fault for not shooting right or the editor’s fault for not being any good.
The writing, however, eventually makes Conquest mildly interesting, at least as a historical document, which is what my greatest hopes were for it once the terrible narration began after the Paramount logo. It’s pre-Space Age, so there’s the space station before there’s a moon landing. There’s not even a moon landing, because they go straight to Mars. The film actually has some sophisticated ideas working–it doesn’t do much with them of any interest. For example, if God makes a tree and Mars is treeless, God stops at Earth while man continues on. I’ve actually never heard it laid out as such and it gives the feeling Conquest wasn’t a completely doomed idea. When the astronauts are stranded on Mars, played right, it could have been good.
The special effects, which must have been cutting edge back in 1955, aren’t good. There’s one good shot of the spaceship approaching Mars, otherwise, the model work is too two dimensional and the matte work, marrying the actors to the models, is too. No perspective in these moments. Some of the miniature work is nice though, but I was expecting more from the special effects. They just added to the film’s rushed feeling… but if it weren’t for the writing, directing, and acting, Conquest of Space might be all right.
ⓏⒺⓇⓄCREDITS
Directed by Byron Haskin; screenplay by James O’Hanlon, based on a book by Chesley Bonestell and Willy Ley, adaptation by Philip Yordan, Barre Lyndon and George Worthington Yates; director of photography, Lionel London; edited by Everett Douglas; music by Van Cleave; produced by George Pal; released by Paramount Pictures.
Starring Walter Brooke (Samuel Merritt), Eric Fleming (Barney Merritt), Mickey Shaughnessy (Mahoney), Phil Foster (Siegle), Benson Fong (Imoto) and William Hopper (Fenton).
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A-1 Headline (2004, Gordon Chan and Chung Kai-cheong)
A-1 Headline is a good, old fashioned newspaper movie. There’s the conflicted editor, the smarter than he gets credit for photographer, the amusing guys around the office. Even the newspaper office looks like a good movie newspaper office: rows of desks, yellowing fluorescents, and antiquated computers. Unfortunately, it just doesn’t have a particularly interesting mystery. The actual investigation, once underway, is the least compelling part of the film, but A-1 still manages to be compelling. However, the characters are compelling. The story is not engaging at all. A handful of important questions go unanswered and I could tell early on there’d be no satisfactory answers to them. It’s just constructed wrong. What starts as a workplace conspiracy mystery ends as a nice little newspaper film, with a little romance no less.
Besides that lack of an engaging plot, there’s little wrong with A-1 (except a lot of the music, which sounds like something from a 1980s commercial). It’s funny, the character relationships develop in interesting ways… It’s a little short in some parts, but overall it’s a fine length since that lack of engagement would get tiring. The acting is particularly good, especially Anthony Wong Chau-Sang, who gives a deep performance. A-1’s borderline cutesy in many ways (mostly because the lead character, Angelica Lee, is a fashion reporter and the introduction to the character requires it) and the film has a fanciful air to it, which the intrusive music doesn’t help, but Wong really brings something to it. It’s not quite his film, but he’s the whole reason to watch it. The rest of the cast is good, with Lee turning in a really nice performance, even when she stops being the center of the film.
Nice is an odd adjective for A-1, but it seems to fit. While the film doesn’t work out well–it’s still all right, but doesn’t decide its thesis until… I don’t know, the last scene–it’s well-made and full of characters who are worth spending a boring ninety-five minutes watching.
★★½CREDITS
Directed and written by Gordon Chan and Chung Kai-cheong; director of photography, Nau Yee-shun; edited by Cheung Ka-fai; music by Johnny Njo; produced by Allan Fung; released by Panorama Distribution Co.
Starring Anthony Wong (Fei), Angelica Lee (Ling), Edison Chen (Kei), Tony Leung Ka-fai (Tsang Tat-si), Eric Kot (Ma) and Lam Ka-tung (Tong).
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Alien vs. Predator (2004, Paul W.S. Anderson), the director’s cut
Now, who exactly thought a film entitled Alien vs. Predator could be good? I mean… just from the title, it’s obvious there’s a fairly low potential for the film. As such, Alien vs. Predator is fine. It’s wholly watchable. It’s stupid and there are some enormous plot holes–not just in the established Alien or Predator canon, but in what the film itself has already established–but it’s called Alien vs. Predator. Any film with “vs.” in the title is automatically exempt from certain critical reasoning. Those plot holes in Alien vs. Predator shouldn’t bother anyone because the point of the film is not the understand it, rather to see it. I’ve seen Alien vs. Predator before (there was a review up on The Stop Button over a year ago, in the pre-archive) and when I was actually able to rent the monumental director’s cut (it adds eight minutes and I noticed maybe one new scene, but it isn’t like I had the film committed to memory).
In a few ways, Alien vs. Predator reminded me of Superman Returns, as I got to see some things I didn’t expect. Had any filmmaker of any merit made another Alien sequel or another Predator sequel, he or she would never have glazed on some of Alien vs. Predator’s enjoyable stupidity. No one with any artistic ability would ever have an Alien Queen chasing someone like a dinosaur out of Jurassic Park (or so visibly lift the opening to Jurassic Park for another über-mainstream film), but that lack of creativity is Paul W.S. Anderson’s strongest filmmaking virtue. Anderson makes a pseudo-scientific argument, which struck me as a goof on some film I can’t quite remember, some occasionally witty dialogue, a handful of lame characters (played, usually, by good actors), and let loose. The result was a film with some decent action (though the Alien and Predator fights could have been more dynamic) and some decent visuals. Anderson litters the film with references to the other Alien and Predator films, but he never really has any good money shots. It might be–this example being the only significant inconsistency I couldn’t let go–because the Predators are all short. They’re short and stocky and they don’t look right. They were designed to be lean and tall and Anderson doesn’t redesign the look in a way not to make them look like runts. Interestingly, the guy who played all the Predator roles was 7’1”, so Anderson did something wrong.
With the casting, however, Anderson did all right. Lance Henriksen is boring in his glorified cameo and Sanaa Latham is only acceptable when she’s got speaking actors to act off, but otherwise there’s some decent performances. Maybe I’m being a little rough on Latham, but she spends the last twenty minutes or so with no one to talk to and it messes up her performance, making Alien vs. Predator, for the first time, seem like something not even the actors could take seriously. Raoul Bova, Ewen Bremner, and Tommy Flanagan are all good, with Bremner and Flanagan even really acting in their scenes together.
I just realized how long this post is getting, but Alien vs. Predator is one of the more known films I’ve written up (I can always easily rant on a discussed topic). I’m unable to get over the negative response to this film. If you want a good movie, you don’t see one called Alien vs. Predator–nothing with a title like this one has any promise of being good. Unfortunately, I imagine the Alien vs. Predator movie the fans “wanted” would be even worse.
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The Pentagon Wars (1998, Richard Benjamin)
I can’t remember why I queued The Pentagon Wars. When it started, I kept waiting for the writing credits because I figured it must have been for the writers (it wasn’t). The Pentagon Wars chronicles a colonel’s efforts to get the Pentagon to responsibly develop an armored personnel carrier. It’s also an absurdist comedy. Kelsey Grammer’s the bad guy, the general who can’t answer a straight question and is just waiting for his cushy defense industry job post-retirement. The film alternates between being laugh out-loud funny (Grammer’s fantastic) and depressing. The military-industrial complex shouldn’t be a surprise to anyone and the film actually skirts over that issue quite a bit. Instead, it concentrates on just how much the Pentagon brass is willing to sacrifice troop safety for fashionable accouterments.
The Pentagon Wars was an HBO movie (produced by Jersey Films, which explains some of the quality) and director Richard Benjamin never quite makes it anything more than a televised film. There’s no real character development, no real character arcs, no real character relationships. There’s a bunch of good acting–Grammer, Richard Schiff, John C. McGinley, and Tom Wright (actually, Benjamin’s fine in his cameo too)–and the film’s scenically constructed to allow these actors to amuse. As the straight man, Cary Elwes gives his standard wooden performance. While the script doesn’t involve itself too much with the depth of Elwes’s character, he’s still entirely incapable of giving it any. That arrangement works out, because no matter how many times Elwes fails, the film isn’t requiring him to do anything.
The film, though it never actually quite earns that descriptor, manages to endear itself (mostly due to Benjamin’s amiable handling and the performances). Watching the film–even appreciating it and its humor and its successes (it’s a safe quirky)–I kept wanting it to take itself seriously, as its subject is not a particularly frivolous one. When the seriousness finally did arrive, it came too late–and then the film called upon Elwes… and he couldn’t handle it (surprise, surprise). Still, the attempt was enough to hinder the experience.
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Phase IV (1974, Saul Bass)
I was trying, while watching Phase IV, to think of some way to put a positive spin on the film. The film stars Michael Murphy–and I’m a big Michael Murphy fan–so I was hoping for some Murphy-goodness. He’s fine and has a couple good moments, but there’s really nothing he could do to combat the film’s terrible writing. Murphy isn’t the reason I was going for the positive spin though. Phase IV is famous title designer Saul Bass’s only feature film as a director.
The film is astoundingly well composed. It’s about super-intelligent ants by the way, in case you don’t remember the video box cover with the ants coming out of the hand. There are these close-ups on the ants–extreme close-ups–and lots of ant activity and all those scenes are fantastic, but there’s more. Bass applies his compositional strength to everything in the film, down to these close-ups of fingers searching and so on. Except for one filmic element. Scenes with characters interacting. Then Bass loses his touch. The conversation scenes in Phase IV are beyond dull. Besides the terrible script, Nigel Davenport is rather bad. He’s a ham. The script is constantly laying out ominous foreshadowing–none of it pays off, which doesn’t really matter by the end–and Davenport can’t stop himself from porking out… At times, Phase IV is mind-numbing, then Bass has some fantastic ant scene or just some great camera setup and it’s interesting again.
I was just thinking today about how a novel’s writing can make it compelling, regardless of the story content–and how the same formula does not work for film. Phase IV is an excellent example, maybe even the best (I’m hard-pressed to think of a better directed but lousy film).
I forgot to mention the music. The music is terrible. It’s synthesizers. Annoying ones. But they also manage to be dull at the same time….
ⓏⒺⓇⓄCREDITS
Directed by Saul Bass; written by Mayo Simon; director of photography, Dick Bush; edited by Willy Kemplen; music by Brian Gascoigne; produced by Paul B. Radin; released by Paramount Pictures.
Starring Michael Murphy (James R. Lesko), Nigel Davenport (Dr. Ernest D. Hubbs), Lynne Frederick (Kendra Eldridge), Alan Gifford (Mr. Eldridge), Robert Henderson (Clete) and Helen Horton (Mildred Eldridge).
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