Tag Archives: Deborah Kara Unger

1994, ⓏⒺⓇⓄ, Sci-Fi

Highlander: The Final Dimension (1994, Andrew Morahan), the European version

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About the only complementary thing in Highlander: The Final Dimension is Steven Chivers’s photography. The film’s got a terrible color palette, which isn’t a surprise since all of director Morahan’s decisions are bad, but Chivers never lets the film look cheap. It’s clearly cheap, but Chivers refuses to acknowledge it. It’s kind of cool. But only with a qualifier or two, because the crappy color palettes are a real problem. Most of Morahan’s direction is bad and Chivers does nothing to alleviate its damage on the film.

Well, I suppose there really isn’t much you could do for Final Dimension. A better director would have helped, but only so much. It’s one of those pictures not just without anything going for it, but without anything good in it. Deborah Kara Unger arguably gives the film’s best performance, but only because it’s the least worst. Unless you count Mako, who stands in for Sean Connery in this entry. He manages to keep a straight face opposite Christopher Lambert.

Final Dimension is one of those too craven sequels. It borrows story beat after story beat from the first film–though Unger doesn’t even get to be the damsel in distress, Lambert’s got a little kid to threaten in this entry. As that little kid, Gabriel Kakon is atrocious. No surprise, but Morahan can’t direct actors either. So it’s like watching all the action from the first film done in Panavision by a bad director shooting it in Canada. With photographer Chivers trying so hard to distract from its lack of domestic shooting locations, he just makes the film look terrible to hide it. Like I said, it’s kind of admirable. Chivers can clearly do a better job–lighting this terrible palette takes skills–but he doesn’t. There’s no excelling in the Final Dimension.

As the villain, Mario Van Peebles is almost funny. He’s just strange enough not to be sad, but he’s not strange enough to be interesting. A lot of it is an objectively bad performance. Some of it has the promise of a better performance. Again, Morahan. Also, it’s a terrible script. What is anyone going to do with a terrible script? Unger tries with her crusading archeologist bit but once the film gets her clothes off, it stops giving her anything to do.

Really bad performance from Martin Neufeld as the angry cop who’s after Lambert. Final Dimension fails on every level. It can’t even do bit parts well. It doesn’t have a script going for it, doesn’t have a director, doesn’t have production values (awful music from J. Peter Robinson, bad editing from Yves Langlois), but it doesn’t even have a good casting director. Maybe because there’s no credited casting director.

It’s a movie with a terrible Christopher Lambert performance I don’t even want to pick on. It’s such a bad script, turning Lambert into a nineties action hero dad while more T–800 than Highlander… it’s not a fair fight. Amid all the crappy work in Highlander: The Final Dimension, there apparently can be only one to do the crappiest work and it’s screenwriter Paul Ohl.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Andrew Morahan; screenplay by Paul Ohl, based on a story by Brad Mirman and William N. Panzer and characters created by Gregory Widen; director of photography, Steven Chivers; edited by Yves Langlois; music by J. Peter Robinson; production designers, Gilles Aird and Ben Morahan; produced by Claude Léger; released by Dimension Films.

Starring Christopher Lambert (Connor MacLeod), Mario Van Peebles (Kane), Deborah Kara Unger (Alex Johnson), Gabriel Kakon (John MacLeod), Martin Neufeld (Lt. John Stenn), Daniel Do (Dr. Fuji Takamura), Michael Jayston (Jack Donovan) and Mako (Nakano).

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1999, Action/Adventure, ★½

Payback (1999, Brian Helgeland), the director’s cut

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I don’t know if I’d say I’ve been waiting ten years to see the director’s cut of Payback, but I guess I’ve been interested in it for ten years–it’s supposed to be the meaner version. Too bad Mel Gibson, even a good Mel Gibson, is Mel Gibson. Even when he’s being tough and mean, he’s got an element of cute. If you like Mel Gibson, you’ll probably like Payback.

It’s a tough guy movie set in a no name city, the film noir city of the 1950s, only Helgeland wastes a lot of time drawing attention to the city not having a name… (it’s Chicago). Helgeland’s direction is solid, but his establishing shots are really poorly framed, usually because he doesn’t know how to shoot the city. It looks like he doesn’t know how to do establishing shots, making it appear incompetent.

The most impressive thing about the film is acting. Helgeland’s rediscovery of Gregg Henry is something to be seen. Maria Bello’s good. Deborah Kara Unger is good. William Devane and James Coburn’s cameos are both great.

Unfortunately, the film gets to a point where there’s nowhere to go. The film’s philosophy just doesn’t work for making a successful picture. Played straight, it might have been better. Gibson’s character arc fails, as the character inexplicably develops emotional concern.

So, at that conclusion, when Helgeland’s run out of plot, he stops the movie. It’s a downhill slide from a rather strong opening. I suppose it’s a somewhat graceful decision.

1.5/4★½

CREDITS

Directed by Brian Helgeland; screenplay by Helgeland, based on a novel by Donald E. Westlake; director of photography, Ericson Core; edited by Kevin Stitt; music by Chris Boardman; production designer, Richard Hoover; produced by Bruce Davey; released by Paramount Pictures.

Starring Mel Gibson (Porter), Gregg Henry (Val), Maria Bello (Rosie), David Paymer (Stegman), Deborah Kara Unger (Lynn), William Devane (Carter), Bill Duke (Detective Hicks), James Coburn (Fairfax) and Lucy Liu (Pearl).

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1997, ⓏⒺⓇⓄ, Mystery

The Game (1997, David Fincher)

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I don’t know what possessed me to watch The Game again, probably my access to the DVD, but even so, I don’t know what possessed me to finish watching it. It’s fairly atrocious early on, once it becomes obvious that no reasonable human being could identify with Michael Douglas’s character. He’s playing a lonely, depressed multimillionaire who lives in a big house and is good for absolutely nothing. He doesn’t even have fun. I was opined–and still do–that the rich cannot produce good art because there’s no real conflict in their lives. Similarly, the rich make difficult subjects for fiction. Something like Sabrina notwithstanding….

But, really, I was trying to figure out–as The Game went from mediocre to bad to mediocre again to worse than ever (the only good moment comes in the last few scenes, not surprisingly, it’s all Sean Penn)–I was trying to figure out why I used to love David Fincher. I saw The Game in the theater and I can’t believe it didn’t cure me. Fincher is shockingly incapable of recognizing good material and not just the script. I mean, Douglas turns in what must be his worst performance, since all it does is rehash his previous stuff (Wall Street and maybe Disclosure specifically). When Douglas does show some humanity, it comes across like someone else wrote the scene and Fincher stuck it in.

The Game also–and I hate to gripe about this one, because I usually advise against it–has logic holes the size of the Grand Canyon. I advise against surveying such holes because they aren’t the piece’s point and when you interact with a work, you have to give it some leeway. There’s nothing to interact with in The Game, so all that’s left is to point out how incredibly stupid it is. Still, Fincher’s composition isn’t bad–though it’s poorly edited and the cinematography begs for someone better–and a lot of the supporting cast is fun… James Rebhorn in particular, love the Rebhorn.

For some reason, I thought I had something else to say about this film, some other way to close it–besides that it’s a piece of horrendous shit. Oh, I remember: Howard Shore’s score is good.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by David Fincher; written by John Brancato and Michael Ferris; director of photography, Harris Savides; edited by James Haygood; music by Howard Shore; production designer, Jeffrey Beecroft; produced by Steve Golin and Cean Chaffin; released by Polygram Filmed Entertainment.

Starring Michael Douglas (Nicholas Van Orton), Sean Penn (Conrad), James Rebhorn (Jim Feingold), Deborah Kara Unger (Christine), Peter Donat (Samuel Sutherland), Carroll Baker (Ilsa) and Armin Mueller-Stahl (Anson Baer).