Tag Archives: Milla Jovovich

A Perfect Getaway (2009, David Twohy)

Watching “Damages,” it was always surprising to me what a good actor Timothy Olyphant has turned out to be. Before it, all I’d really seen him in (albeit a while ago) was Scream 2 and he’s absolutely terrible in that one. In A Perfect Getaway, he proves able to translate his ability into a more standard leading man type role. Olyphant makes the movie. When he and girlfriend Kiele Sanchez are offscreen, Getaway lacks, when they’re on, it works fine.

But Olyphant and Sanchez aren’t the leads in Getaway, Steve Zahn and Milla Jovovich are the leads, which presents a bit of a problem, the not-as-charismatic people being the leads. Zahn’s good, maybe turning in the best performance I’ve seen him give since Out of Sight, when he established his persona. Getaway plays with it a bit. Jovovich is good too, but just like in her video game movies, the character doesn’t really offer her very much to do. It’s a technically superior performance, but Jovovich didn’t once surprise me. Of course she could do this role… Charlize Theron or Cameron Diaz could do it too and they’re both awful.

Twohy’s not a great director, but his half-noir in paradise, half-Hawaiian travelogue thing works for the first half, before he does his big twist. He gets in a couple solid screenwriting jokes, the kind of thing one can “appreciate” on a second viewing, but the cast and concept are strong enough he could have been straightforward.

1/4

CREDITS

Written and directed by David Twohy; director of photography, Mark Plummer; edited by Tracy Adams; music by Boris Elkis; production designer, Joseph C. Nemec III; produced by Ryan Kavanaugh, Mark Canton, Tucker Tooley and Robbie Brenner; released by Rogue Pictures.

Starring Timothy Olyphant (Nick), Milla Jovovich (Cydney), Kiele Sanchez (Gina), Steve Zahn (Cliff), Marley Shelton (Cleo) and Chris Hemsworth (Kale).


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The Fifth Element (1997, Luc Besson)

The last time I saw a Luc Besson movie and thought it was really good, I tried watching Joan of Arc. Then I stopped exploring his filmography. This time, therefore, I’m prepared. I haven’t seen The Fifth Element in years and I’m not sure why. Considering its cast, it’s something of a breath of fresh air. Ian Holm has either disappeared from cinema in the last five years or I’m just no longer seeing movies he acts in anymore, which is entirely possible. So it was really nice to see him (I feel terrible, like I’m suggesting he’s turned in to Brian Cox or someone–I’m sure he hasn’t). Bt the film also features Chris Tucker’s incredibly annoying, which is the point, performance and I remember it made me wish he’d do other supporting roles like it. then he got really big so it’ll never happen. Too bad.

But the film also features a great Bruce Willis performance. It’s so much fun–Willis has his action hero schtick, but Fifth Element finally lets him do it in a comedy and a good one. The most impressive thing about the film, besides Eric Serra’s music maybe, is Besson’s understanding of timing. for a film with major pacing issues (more in a second), The Fifth Element is perfectly timed. Willis and Milla Jovovich really work well together in the film because Willis is able to alternate from a caring, paternal figure (gee, wonder if the age difference has anything to do with it?) and the romantic interest and because Jovovich’s character is an alien, his concern works. I don’t think he’s ever done so much work as a romantic lead as he does in this one and he’s great. Jovovich is also quite good–and not for the female action star reasons she’s good today, which suggests Besson just directed her well and maybe the role wasn’t very hard. But she’s good.

Now for the two problems. First, whoever they got to do the voice of Bruce Willis’s mother on the phone was the wrong choice. His character doesn’t work with an annoying mother. Maybe if he had an Uncle Leo, but not a mother. every time it comes up (three times, I think) it wallops the film with an aluminum baseball bat.

The second problem has to do with the pacing. Like I said, the film is perfectly timed–it’s one of those “hang out” movies Tarantino says he wants to make and never seems quite able to pull off–but it’s too slight. It’s too fast for everything going on and needs another fifteen minutes throughout. The ending is great in a way I’d see more Luc Besson films if I didn’t know better, but it’s not as good as it could be… the material before it doesn’t deserve it.

Willis… Jovovich… Holm… Tucker… I need to say something about Gary Oldman. Oldman’s gotten to be something of a punch-line (well, not really something of one) in the last ten years, but he’s fantastic as a villainous French (?) industrialist who speaks with a Texas accent. Either he had a great time doing it or he faked it really well. He is fun to watch in the film, just to see what he’s going to do next, which no longer describes his acting at all.

Maybe I’m just in the mood for long films right now, but I didn’t want The Fifth Element to end. I was enjoying it too much (Besson and Robert Mark Kamen, who write terrible action movies together, somehow turned in a fantastic script).

But, still… I must remember… never, ever try to watch Joan of Arc.

3.5/4★★★½

CREDITS

Directed by Luc Besson; written by Besson and Robert Mark Kamen, based on a story by Besson; director of photography, Thierry Arbogast; edited by Sylvie Landra; music by Eric Serra; production designer, Dan Weil; produced by Patrice Ledoux; released by Columbia Pictures.

Starring Bruce Willis (Korben Dallas), Gary Oldman (Zorg), Ian Holm (Cornelius), Milla Jovovich (Leeloo), Chris Tucker (Ruby Rhod), Luke Perry (Billy), Brion James (General Munro), Tommy ‘Tiny’ Lister (President Lindberg), Lee Evans (Fog), Charlie Creed-Miles (David), Tricky (Right Arm), John Neville (General Staedert), John Bluthal (Professor Pacoli) and Mathieu Kassovitz (Mugger).


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Resident Evil: Extinction (2007, Russell Mulcahy)

I wonder how Paul W.S. Anderson writes his screenplays. Does he actually write in all the references–think The Birds here, or a tanker like in The Road Warrior or even the Statue of Liberty shot out of Planet of the Apes–or do they come up later? Resident Evil: Extinction is an amalgam of, I imagine, as many films Anderson could rip from or reference to (it’s never homage) in ninety-five minutes. But, like the earlier ones and for the same basic reasons, Extinction is a success.

The prevalent reason for success is Milla Jovovich. Jovovich is barely in movies anymore, but she’s great as the action hero. Extinction adds another element–along with malicious tentacles, Anderson cribs pyrokinesis (I can’t believe I knew that “word,” since Oxford apparently does not) from Japanese anime–giving Jovovich superpowers and a burden along with them. Anderson also gives her some character stuff, hints at romantic longing, and some comedy moments towards the end. It really works out, since she can switch from a Mad Max Road Warrior impression to vulnerable instantaneously. Every time–and it’s not often since she’s in so little–I see Jovovich, I can’t help but think Woody Allen would be able to do something great with her.

The other reason Extinction works is because Anderson is–as screenwriter and producer–once again completely comfortable making schlock. It’s well-produced schlock, whatever–oh, he steals from Undead too–but it’s absolutely unpretentious. There’s no pretending. It’s just ninety-five minutes gone.

Still, Extinction is a really hurried film. It’s supposedly the last film in the series, which is silly because the setup at the end suggests the next one would be a lot of fun, and that condition hangs over the movie. Starting out where the first film started, ending where the first film started… it’s all very neat in terms of conclusions, but the pace is terrible.

For a lot of the film, Jovovich isn’t even the main character. Instead, Anderson tracks a group of survivors (The Road Warrior rejects) lead by Ali Larter, who is awful. There’s some blah acting in the movie, but Larter’s is the only performance near ruining it. Once Jovovich is the firm center, it’s almost over. Anderson also spends a lot of time with the scientists, setting up the big ending. The script feels rushed, the movie feels rushed….

As far as the other performances go, Oded Fehr is good, Mike Epps is better than last time, and Linden Ashby is wasted as a cowboy.

Russell Mulcahy does an okay job directing. The editing is particularly good, but Extinction is short on action set-pieces, but the big one is worth the wait. The musical score, amusing, borrows a lot from the Terminator theme.

The Resident Evil movies are also of note because they aren’t particularly expensive, so they use CG and special effects in ways to enable storytelling, a trend Extinction continues.

1/4

CREDITS

Directed by Russell Mulcahy; written by Paul W.S. Anderson, based on the Capcom computer game series; director of photography, David Johnson; edited by Niven Howie; music by Charlie Clouser; production designer, Eugenio Caballero; produced by Bernd Eichinger, Samuel Hadida, Robert Kulzer, Jeremy Bolt and Anderson; released by Screen Gems.

Starring Milla Jovovich (Alice), Oded Fehr (Carlos Olivera), Ali Larter (Claire Redfield), Iain Glen (Dr. Isaacs), Ashanti (Betty), Christopher Egan (Mikey), Spencer Locke (K-Mart), Matthew Marsden (Slater), Linden Ashby (Chase), Jason O’Mara (Albert Wesker) and Mike Epps (L.J.).


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Resident Evil: Apocalypse (2004, Alexander Witt)

Trying to figure out how to start this post was incredibly difficult. As far as sequels go, Resident Evil: Apocalypse is, tonally, a terrible sequel to the first film, but it’s still a perfectly reasonable b-movie. The first film, visually, is classy compared to this one, which has lots of quick cuts during fight scenes. The cuts aren’t distracting, since they’re about what’s expected from a movie like this one, and this stylistic difference is probably the least of all the differences between the two films. Apocalypse features, actor for actor, the worst cast in a film I’ve ever finished watching (at least in the last seven years). Besides Milla Jovovich, who’s good again but she’s not the protagonist–she runs all of her actions scenes, but none of her other ones–the cast of Apocalypse is unbelievably, almost uniformly terrible. Sienna Guillory is terrible, Razaaq Adoti is terrible, Mike Epps is actually just real bad, and Sandrine Holt is unspeakable. There’s not even an adjective for her acting prowess. The rest of the principles, besides Oded Fehr, who’s fine, are made up of European actors who stumble over their lines.

The reason Apocalypse works is because, even with the terrible actors, lots of stuff happens in different sets. More than any other film (except the monster who’s a cross between Robocop and The Toxic Avenger), it reminded me of Escape from New York. People running through a burnt-out city, battling zombies. It’s a fine way to spend ninety minutes, especially since Jovovich has some good scenes and I got to appreciate them, how shiny they were amid the rest of the film. Writer Paul W.S. Anderson, who didn’t direct and probably shouldn’t have, since the film plays to none of his “strengths,” actually makes her the only character with any depth, which makes the bad acting of the other principles so much worse. They’re caricatures of caricatures and, if the film appreciated that one, it’d probably be the best b-movie ever made.

The bad actors actually made Apocalypse a worse experience than it should have been, since most zombie movies have a watchable quality about them. Watching the film, marveling at the acting incompetence, I couldn’t believe it wasn’t a worse film, but something needs to be said for the Paul W.S. Anderson genre. He can make perfectly fine bad b-movies, which is a rare quality these days.

1/4

CREDITS

Directed by Alexander Witt; written by Paul W.S. Anderson, based on the Capcom computer game series; directors of photography, Derek Rogers and Christian Sebaldt; edited by Eddie Hamilton; music by Jeff Danna; production designer, Paul D. Austerberry; produced by Don Carmody, Jeremy Bolt and Anderson; released by Screen Gems.

Starring Milla Jovovich (Alice), Sienna Guillory (Jill Valentine), Oded Fehr (Carlos Olivera), Thomas Kretschmann (Major Cain), Sophie Vavasseur (Angie Ashford), Razaaq Adoti (Peyton Wells), Jared Harris (Dr. Ashford), Mike Epps (L.J.) and Sandrine Holt (Teri Morales).


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