Spawn (1997, Mark A.Z. Dippé), the director’s cut

Spawn is really bad.

It’s bad from the first frame, the first bad CGI vision of Hell. I’m not sure if it’s bad until the last frame, I didn’t bother with the end credits. But based on the music accompanying the start of the end credits… yes, yes, it’s bad until the final frame. Even if there’s a “Spawn Will Return in The Avengers” tag at the end. Even with such a tag, it’d be a bad frame. It’d probably be something promoting a John Leguizamo stand-up special or something. In fact, if Leguizamo didn’t at least get some kind of promotion thing built in… it’s even worse for him. And Spawn is very, very, very bad for John Leguizamo. If the movie weren’t so godawfully overcooked in post, he’d take the biggest hit from the film. Luckily for him, it’s so bad with all the CGI and whatnot and how the filmmakers employ it to hurry their narrative, you can’t even remember how Leguizamo never has a good moment despite the movie being on his platter.

Because Leguizamo works in Spawn. He’s in an absurdly big costume, he’s got really stupid lines; there’s not a single positive thing about Leguizamo’s role. It seems like they somehow convinced Leguizamo (or his agent) it was the Jack Nicholson part and somehow Leguizamo fell for it. Even on this obviously bargain basement—holy cow, it filmed in the United States of America and not the province of Ontario; I thought cinematographer Guillermo Navarro did a bad job of lighting Toronto, but no… he did a bad job lighting L.A. A really bad job. There are lots of really bad jobs done in Spawn. I started to make a list while watching it but pausing Spawn every thirty-four seconds got tedious fast.

Anyway; Leguizamo—all the stupid stuff the film asks of him, Leguizamo does it. With enthusiasm. He deserves a medal for his pointless efforts in this film.

Or at least an ending tag promoting some other project.

Because Leguizamo, who’s entirely unrecognizable in the makeup, is about the only person involved with Spawn anyone would have any interest in seeing in another project. Lead Michael Jai White, who’s better while in full makeup, which restricts his expression, than when he’s not in any makeup and just acting? Nah, no one wants to see more of him. Or D.B. Sweeney as White’s best friend who marries his fiancée (Theresa Randle) after White dies. White dies because his boss, CIA-ish boss Martin Sheen has a deal with literally demonic Leguizamo and killing White and sending him to Hell is part of the plan.

So five years later, White comes back. Why the time jump? To give Sweeney and Randle time to have gotten married and have a kid (Sydni Beaudoin in the film’s only sympathetic performance; you feel for Beaudoin, she doesn’t realize what a terrible movie she’s in and shouldn’t have to realize it, she’s just a kid). However, when demonically reincarnated White befriends homeless urchin Miko Hughes, Hughes gets none of that sympathy because he’s terrible. Not even after Hughes’s abusive father dies and Hughes is sad; Michael Papajohn plays the dad. He’s only of note because he can’t keep his eyes closed when he’s supposed to be dead. For a movie with so much CGI imagery related to eyes—White’s eyes are always farting green mist… I’m thinking of farting because there’s CGI farting from Leguizamo. But Papajohn’s eye twitches. Spawn’s the kind of movie where the actors can’t keep their eyes closed consistently, the director doesn’t care about it, and the editors can’t fix it. It’s the pits.

Other terrible things of note… Martin Sheen’s acting. You’d never believe he’d been nominated for any awards, much less acted before. He looks like a men’s hair dye spokesman and acts like one too. One who can’t act well. Randle’s bad too but you’re sympathetic because Randle gets to be male gazed throughout the film—Sheen’s going to rape her, just because; something to piss off both White and Sweeney. Bad girl Melinda Clarke—in what seems to be a plastic latex—gets male gazed worse but doesn’t have to be in the entire movie. Or be the damsel. Clarke’s gets male gazed in action scenes. Randle gets male gazed while she’s under threat of rape and mutilation. Cool movie.

Frank Welker’s hilariously bad as the voice of a devil. Like, so bad I thought it was just a computer filter, not they conned anyone to do this part for a credit.

Bad editing. Really bad editing. Todd Busch and Michael N. Knue do to the bad editing.

Graeme Revell’s score isn’t good at all but you stop hearing it after a while so it’s could be worse. More is worse with Spawn. The less the better.

Dippé’s a rather bad director. Especially when it comes to integrating CGI effects into scenes. For nine out of ten scenes, the cast doesn’t even seem to be aware they’re reacting to CGI effects. It’d be even worse if the movie weren’t just terrible.

Spawn is really bad. Of course it’s really bad.

Taken 2 (2012, Olivier Megaton), the unrated version

Besides a truly excellent real time (or very close to it) sequence where Maggie Grace avoids being kidnapped in order to help already kidnapped parents Liam Neeson and Famke Janssen, there's not much to Taken 2. Even the action-packed finale is a disappointment. I had been hoping it'd match that long sequence–which goes from a foot chase to car chase, with action moments throughout–but it's like everyone gave up and truncated the ending.

Maybe Neeson had it in his contract the movie could only run so long. A major part of his performance is his visible distain for the film; he incorporates the world weariness into the part well, but one can't help notice he doesn't run very often and many of the complicated action choreography happens when he's offscreen.

Still, director Megaton does a perfectly adequate job. Taken 2 is fast and dumb, no one seems to disagree. Writers Luc Besson and Robert Mark Kamen don't even try to fill the runtime with action and intrigue–there's a long first act setting up Janssen and Grace visiting Istanbul with Neeson. The writers pretend spending time with the characters will make the audience care, but really… no one cares. Not the writers, not the actors. They all do okay enough–even Grace, who looks about twenty-two as a teenager (which isn't bad, considering she was twenty-eight or so during filming).

Maybe it'd be better if Rade Serbedzija's villain weren't so lame, but why bother caring. Like I said, no one else does.

Swamp Shark (2011, Griff Furst)

It’s hard to explain why Swamp Shark is watchable. The primary reason–besides seeing what weathered professionals D.B. Sweeney and Kristy Swanson–is the Louisiana location shooting. Cinematographer Lorenzo Senatore really brings out the greens. Besides the terrible, digitally aided day for night scene, Swamp Shark looks better than it should. Even though the casting director forgot black people live in Louisiana too.

Furst isn’t much of a director, but he knows what to mimic and he rips off a couple memorable moments from Jaws and, in particular, Jaws 2. He also seems to understand the only way to make Swamp Shark palatable is to pace it like a traditional TV movie (it plays like an abbreviated miniseries) and not a film. The abbreviating works a lot better because the supporting cast is so terrible. There are a bunch of college kids in danger and they’re all awful. Well, mostly just Dylan Ramsey.

In the main cast, Jeff Chase and especially Richard Tanne are bad. Furst can’t direct actors, but it’s okay, because his editor, Matt Taylor, can’t cut dialogue scenes together.

Sweeney holds it together admirably, as does Robert Davi–even though Davi loses his accent after a while. Swanson never attempts an accent; she’s agreeable without being believable. She comes off way too smart.

Jason Rogel is amusing in a smaller role. Sophie Sinise leaves no impression.

Wade Boggs is awful; he doesn’t seem to get the movie’s laughing at him.

Swamp Shark is garbage, but surprisingly digestible.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Griff Furst; written by Jennifer Iwen; director of photography, Lorenzo Senatore; edited by Matt Taylor; music by Andrew Morgan Smith; production designer, Jayme Bohn; produced by Kenneth M. Badish and Daniel Lewis; aired by the Syfy Channel.

Starring Kristy Swanson (Rachel Bouchard), D.B. Sweeney (Tommy Breysler), Robert Davi (Sheriff Watson), Jeff Chase (Jason Bouchard), Sophie Sinise (Krystal Bouchard), Jason Rogel (Martin), Richard Tanne (Tyler), Charles Harrelson (Noah), Natacha Itzel (Sarah), Dylan Ramsey (Scott), Lauren Graham (Laura), Thomas Tah Hyde III (Marcus), Ashton Leigh (Amber) and Wade Boggs (Deputy Stanley).


RELATED