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Daylight (1996, Rob Cohen)
Stallone is Kit Latura, disgraced EMS chief (he cared too much). Besides the name, Stallone’s just the disaster movie lead and not even any interesting one (besides the caring too much). There aren’t even any Stallone grunts in the movie and he plays it straight and as well as anyone can play the terrible script. Daylight is a terrible attempt at a disaster movie as it forgets a couple of the golden rules of the genre. First, have a recognizable cast. Jay O. Sanders might barely qualify, but whoever plays his wife (Karen Young–and she’s awful) is not. And the less said about Sage Stallone the better. The second broken rule is to make the characters likable. With the exception of Stallone and security guard Stan Shaw, there isn’t a single sympathetic character trapped in the (unnamed) tunnel. In fact, when Viggo Mortensen dies, it’s a relief, since it’d have been awful to spend the rest of the movie with him around.
Besides the plotting problems, the script’s generally awful–bad dialogue, bad characters–but Daylight‘s not abjectly bad. Rob Cohen is a boring director, but he’s not bad. The sets are all very intricate and impressive (the other visual effects, terrible CG and silly composites, are not), even if the action occurring on them is mediocre at best.
When he’s not spouting off terrible character development dialogue, Stallone’s keeping the movie going. At the beginning, when it’s amusingly ludicrous, he gets some help from Dan Hedaya. Then, in the tunnel, a little from Shaw. Eventually, he’s got to push ahead himself and, at that point, Daylight gets particularly long. Maybe it’s because the ending is straight out of The Goonies.
Randy Edelman’s score is awful, Amy Brenneman is awful, Barry Newman is hilariously awful. Trina McGee is okay in one of the smaller roles and Vanessa Bell Calloway’s fake Caribbean accent (it goes in and out of course)–at least makes her scenes funny.
It’s funny to think of disaster movies as a complicated art form, but Daylight certainly proves they’re far from easy to make successful.
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Hotel Reserve (1944, Lance Comfort, Mutz Greenbaum and Victor Hanbury)
Though Hotel Reserve is a British production of a continental story (in other words, British actors playing French and Germans), it does have a certain flare to the visual. It’s a spy thriller set in the south of France with lots of models standing in for buildings and lots of sets. It very often looks good, even if the three directors only give the impression of tense shots. When the trio needs to be their best–at the end–they manage a nice set, a handful of good inconsequential shots and then fumble on the most important one in the film.
There’s some problem with the timing–the film is set before the war and the script overdoes the foreshadowing, especially at the end. The film opens, uneasily because the espionage angle gets introduced right away, with people vacationing. At the end, instead of being about vacationeers, it’s about the looming war. The combination of the misfired climax and the wrong-minded close really hurt the film.
Most of the film, with James Mason investigating his fellow guests to prove his own innocence, is entertaining. The script’s simple, but Mason’s good and the visual elements are interesting. It doesn’t hurt there’s occasionally some nice banter between Mason and Clare Hamilton. Though most of the hotel guests are forgettable (to the point they’d be confusing if one spent too much time trying to figure them out), Raymond Lovell, Frederick Valk and Lucie Mannheim are not. Unfortunately, as the most sinister lodger, Herbert Lom is uneven.
The film’s a decent time passer, without any pretensions at being more, but given the combination of the production values and the cast, it could have easily been significantly better. Many British films of the era used similar special effects to the same good effect, but it’s as though the makers never realized they could do both–make a good film and have the same technical fervor.
★½CREDITS
Produced and directed by Lance Comfort, Mutz Greenbaum and Victor Hanbury; adaptation and screenplay by John Davenport, based on a novel by Eric Ambler; director of photography, Greenbaum; edited by Sidney Stone; music by Lennox Berkeley; released by RKO Radio Pictures.
Starring James Mason (Peter Vadassy), Lucie Mannheim (Mme Suzanne Koch), Raymond Lovell (Robert Duclos), Julien Mitchell (Michel Beghin), Herbert Lom (Andre Roux), Martin Miller (Walter Vogel), Clare Hamilton (Mary Skelton), Frederick Valk (Emil Schimler), Patricia Medina (Odette Roux), Anthony Shaw (Major Anthony Chandon-Hartley), Laurence Hanray (Police Commissioner), David Ward (Henri Asticot), Valentine Dyall (Warren Skelton) and Joseph Almas (Albert).
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Mare Nostrum (1926, Rex Ingram)
Even if forgiving the melodramatic story, Mare Nostrum plays more like a travelogue with occasionally interesting effects scenes than anything else. Ingram’s a fine director–except his awkward cuts to close-up, they’re common, which is annoying since his other compositions are not–and the film moves quite well. It’s predictable (the end is foreshadowed in the first scene and the big development is kind of obvious) and often too much… but it passes time well, using action scenes to get the interest up.
Of the action scenes, I suppose the chase through Marseille is the best. There are some excellent special effects sequences, but Ingram uses them sparingly. The movie’s about a Mediterranean sea captain during World War I and there’s some at sea sequences with well-shot models. Technically, it’s a nice film. I love not being able to figure out how someone did special effects.
The performances are okay in general, with Pâquerette an excellent villain. Antonio Moreno is ineffective the first half as the lead and better, once the big development occurs, in the second. Unfortunately, the reverse is true for Alice Terry. As the love interest (and Austrian spy), she’s a lot better at the beginning than in the end. Not all of it is her fault, the script throws her some really absurd situations.
Given the World War I subject matter, I figured Mare Nostrum would be a little better. I don’t know why, maybe because there’s so much possible material, it’d be hard for something not to use it… but the film manages. Still, it’s fine. Not particularly interesting, definitely not involving, but there’s some good stuff in it.
★½CREDITS
Directed by Rex Ingram; screenplay by Willis Goldbeck, based on the novel by Vicente Blasco Ibáñez; director of photography, John F. Seitz; edited by Grant Whytock; produced by Ingram, Harry Lachman and Walter Pallman; released by Metro-Goldwyn-Mayer.
Starring Apollon Uni (The Triton), Álex Nova (Don Esteban Ferragut), Kada-Abd-el-Kader (Young Ulysses), Hughie Mack (Caragol), Alice Terry (Freya Talberg), Antonio Moreno (Ulysses Ferragut), Mademoiselle Kithnou (Dona Cinta), Mickey Brantford (Esteban), Rosita Ramírez (Pepita), Frédéric Mariotti (Toni), Pâquerette (Doctor Fedelmann), Fernand Mailly (Count Kaledine) and Andrews Engelmann (Submarine Commander).
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Rough Magic (1995, Clare Peploe)
Rough Magic isn’t a bad idea, it’s just poorly plotted. Most of the movie takes place in Mexico, where it’s mildly engaging and generally amusing (except when Paul Rodriguez shows up to annoy and he is incredibly annoying). Notice all the qualifiers? The movie starts strong and even gives the impression of ending strong (it doesn’t). For example, D.W. Moffett’s excellent in period pieces and most of his work is in the first fifteen minutes and the last fifteen minutes. Clare Peploe’s direction is good overall, but during the first act, it’s much better than the rest of the film.
I had assumed, given how disjointed the narrative gets–it becomes about Russell Crowe (who’s mediocre with a shifty accent and is actually better when he’s the protagonist) instead of Bridget Fonda–the novel was something obscure and maybe good, a thought I rarely have when watching an adaptation. However, the novel’s some pulp from the early 1940s, so I doubt it’s a literary masterwork and I’m wondering how much of the script is new. I’m assuming most, given how particular the setting is to the story, but I suppose it’s possible the big disconnect (from Mexico back to Los Angeles) did come from the novel. Because anyone working on the script should have seen right away it was off.
Bridget Fonda’s great, though she and Crowe don’t have much chemistry for much of the film, and she has some great scenes. Richard Schiff, Andy Romano, Kenneth Mars, Jim Broadbent–very strong supporting cast.
It’s too bad it doesn’t work out, but it becomes clear once the story moves to Mexico it isn’t going to… and then it alternates between amusing and trying, with the Rodriguez scenes something terrible.
★CREDITS
Directed by Clare Peploe; screenplay by Robert Mundi, William Brookfield and Peploe, based on a novel by James Hadley Chase; director of photography, John J. Campbell; edited by Suzanne Fenn; music by Richard Hartley; production designer, Waldemar Kalinowski; produced by Declan Baldwin and Laurie Parker; released by Goldwyn Films Inc.
Starring Bridget Fonda (Myra), Russell Crowe (Alex Ross), Jim Broadbent (Doc Ansell), D.W. Moffett (Cliff Wyatt), Kenneth Mars (Ivan the Terrific), Paul Rodriguez (Diego), Andy Romano (Clayton), Richard Schiff (Wiggins) and Euva Anderson (Tojola).
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Monument Ave. (1998, Ted Demme)
An utterly depressing Mean Streets knock-off–but beautifully directed by Ted Demme, who manages to make it both derivative and affecting–which might not have much potential, but certainly has the cast for it. Even though Denis Leary is over forty as the guy who wants to get out but they keep pulling him back in–and, honesty, if the film had taken Leary’s age into account, it would have been a lot better–he’s real good. It helps Demme shoots it so well, but the movie’s got a great cast.
Besides Leary–and Billy Crudup, fantastic in a small role–there’s, in particular, Ian Hart and Colm Meaney. Hart’s got the sidekick role. He doesn’t do anything to break out of it, but he inhabits it perfectly. Meaney’s the heavy and he’s great at it, looking like he should be having more fun than he is–but he never lets the character go wild like most heavies in the genre do and the result is a much finer performance. Meaney and Leary are both these exhausted men… one of the other nuances ignored.
There are some mediocre performances, of course, given this one’s a neo-indie film from the late 1990s and everyone has to be a name. Famke Janssen, for example, isn’t entirely bad, but she is completely unbelievable as the neighborhood girl who never could get away. Noah Emmerich, however, is just bad. And Martin Sheen turns in one of his least impressive performances ever.
But John Diehl’s great.
Demme also shoots these wonderful drug use scenes–I suppose, given his death by overdose, it would have been better if he’d shot them poorly–and he really makes Monument Ave. work better than the script deserves. Besides some stylistic flourishes on Demme’s part, as well as the good acting, nothing makes the movie stand out. To some degree, those qualities ought to be enough, but Demme was obviously trying for more… but the script just doesn’t have anything more to give.
★½CREDITS
Directed by Ted Demme; written by Mike Armstrong; director of photography, Adam Kimmel; edited by Jeffrey Wolf; music by Todd Kasow; production designer, Ruth Ammon; produced by Joel Stillerman, Demme, Jim Serpico, Adam Doench, Nicolas Clermont and Elie Samaha; released by Lions Gate Films.
Starring Denis Leary (Bobby), Ian Hart (Mouse), John Diehl (Digger), Jason Barry (Seamus), Noah Emmerich (Red), Billy Crudup (Teddy), Greg Dulli (Shang), Famke Janssen (Katy), Colm Meaney (Jackie O’Hara), Martin Sheen (Hanlon) and Jeanne Tripplehorn (Annie).
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