Tag Archives: Kevin Dunn

Marked for Death (1990, Dwight H. Little)

The beginning of Marked for Death is nearly all right. It’s a prologue, with lead Steven Seagal–as a DEA agent–in Mexico, doing an undercover drug buy. Things go wrong. Until things go wrong, it’s not bad. Director Little has a lot of motion (which is fine when people are moving around, much less when he’s zooming in to try to keep conversations interesting) and it’s effectively tense. Then the action starts and it all goes to pot, because Little can’t direct an action scene, much less a martial arts scene for Seagal. Marked for Death just never clicks, even though it has most of the required pieces. A sense of humor would have made all the difference.

Seagal has some bad acting in the film, but not too much. He’s opposite actual good actors a lot of the time–Keith David, Tom Wright, Kevin Dunn–and they help the film. They don’t help Seagal’s performance. There’s not much one can do with the part–his DEA agent resigns only to get into a fight with a Jamaican drug lord. To make matters worse, the drug lord (Basil Wallace, who over-acts in the part), goes after Seagall’s family.

Along the way, Seagal drafts high school teacher David as his sidekick in vigilante mission. He also meets a girl–an awful Joanna Pacula–before heading to Jamaica for the showdown. The best parts in the film are some second unit establishing shots in Jamaica, amid palm tress.

Speaking of palm trees, the unbelievably inept chase scene–set in the Chicago suburbs–is littered with palm trees. After the film goes out of its way to establish the Chicagoland connection. Seagal just loves being a soulful Catholic Chicago dude. He should’ve remade the Blues Brothers.

If you look past how the film demonizes Jamaicans (they’re not characters or caricatures even, they’re boring monsters), Marked for Death is just goofy bad, with a lame score from James Newton Howard (who actually appears to be mocking the scenes he’s scoring at times), the crappy script from Michael Grais and Mark Victor, inept action editing. But, through it all, Little still manages to fail everyone else involved. His direction is the pits.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Dwight H. Little; written by Michael Grais and Mark Victor; director of photography, Ric Waite; edited by O. Nicholas Brown; music by James Newton Howard; production designer, Robb Wilson King; produced by Grais, Victor and Steven Seagal; released by 20th Century Fox.

Starring Steven Seagal (John Hatcher), Joanna Pacula (Leslie), Keith David (Max), Tom Wright (Charles), Kevin Dunn (Lt. Sal Roselli), Elizabeth Gracen (Melissa), Bette Ford (Kate Hatcher), Al Israel (Tito Barco), Arlen Dean Snyder (Duvall), Victor Romero Evans (Nesta) and Basil Wallace (Screwface).


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Lions for Lambs (2007, Robert Redford)

Hopefully, Lions for Lambs will be the most topical film ever made. Hopefully. In fifteen years, hopefully it won’t make any sense. It probably will.

As a dramatic narrative, it’s pretty limp. Most of the scenes with the big three are dialogue scenes, written by someone not incompetent but without much gift for it. It’s a play from a non-playwright. As a singularly directed play, the film would make sense. As a film, it really doesn’t. It might be Redford’s direction, which suffers from bad editing (Joe Hutshing does a terrible job with the back and forth, each edit more jarring than the last), but it might also be the lack of distinction. Had Redford done something crazy–something von Trier crazy–it might have worked. Because there’s nothing to Lions for Lambs if one tells it straight. It’s three stories–professor Redford talking to a student (basically about not sitting idly by while Britney Spears passes for news), GOP senator Tom Cruise trying to sell a new Afghanistan strategy to a cable news exec–sorry, reporter–Meryl Streep, and that strategy failing two of Redford’s former students, Michael Peña and Derek Luke on the ground.

The film opens with a broad, forceful propagandist hammer. It’s the kind of thing they should have gotten Noam Chomsky to consult on… if Noam Chomsky consulted on movies and if the producers had an iota of forethought. It slowly and carefully reveals layers and inconsistencies… Army Lieutenant Colonel Peter Berg might believe calculated lies about Iran but he does care about his troops. Berg’s acting in the film, watching Peña and Luke under fire is fantastic–a performance I never thought he’d be capable of performing.

There is a lot of good acting in the film. Streep’s solid, of course. Cruise’s performance will probably go forever unnoticed, but it’s phenomenal. It should have gotten more notice–and would have if only the film had some better direction. Both Peña and Luke are good as well, with Peña turning in yet another of his character performance as lead auditions.

Redford’s pretty lame, but most of the problem is with his “acting” collaborator. Whoever casted Andrew Garfield committed almost as great a film crime as whoever kept Mark Isham’s lousy score. Garfield’s real, real, real bad. His dialogue’s bad too, but his delivery is incompetent. He couldn’t sell teen hair products.

The cast is small, there are only a handful of settings… it should have been a play. A play can be topical and still be a phenomenon. A film has to account for some of the time spent–the time spent making it, the time spent watching it. Lions for Lambs feels like screenwriter Matthew Michael Carnahan got pissed while watching some bullshit CNN newscast, wrote an easy ninety-minute movie (turning Peña and Luke’s story into an entire feature would have been work) and just happened to be in the right place at the right time (Cruise taking over United Artists) to get it made.

1/4

CREDITS

Directed by Robert Redford; written by Matthew Michael Carnahan; director of photography, Philippe Rousselot; edited by Joe Hutshing; music by Mark Isham; production designer, Jan Roelfs; produced by Redford, Carnahan, Andrew Hauptman and Tracy Falco; released by United Artists.

Starring Robert Redford (Professor Stephen Malley), Meryl Streep (Janine Roth), Tom Cruise (Senator Jasper Irving), Michael Peña (Ernest Rodriguez), Andrew Garfield (Todd Hayes), Peter Berg (Lieutenant Colonel Falco), Kevin Dunn (ANX Editor) and Derek Luke (Arian Finch).


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