Tag Archives: Norman Reedus

Blade II (2002, Guillermo del Toro)

There’s a legitimately great sword fight scene in Blade II, after some really solid ones—the film’s CG assists never help it but director del Toro does understand how a fight sequence is like a dance sequence (particularly in the great sword fight) and star Wesley Snipes is always ready to show off his fight choreography abilities. The sword fight is so good you spend almost the entire rest of the film waiting for del Toro to execute something superior. Why open with such a stunning sequence if you don’t have something even better later on.

But with Blade II, there is no better later on, not for swords, fists, or anything else. None of the fight scenes following the sword fight get anywhere near the ones in the first act, which were Matrix-ripoffs but still well-executed Matrix-ripoffs. There’s a “this would be confusing if it mattered” sequence where Snipes and his newfound team of vampire super-vampire hunters each fight the super-vampires and the focus moves from character to character. The super-vampires all look like Nosferatu as homaged in Salem’s Lot, only their faces open up like a Predator and they shoot out tentacles and an inner mouthes of Aliens. It’s not a bad design but it’s nowhere near as terrifying as it would be if the CG weren’t middling. A lot of Blade II fails thanks to its bad CG, particularly in the third act, which isn’t good. It’s like del Toro knows the right shot, the technology just isn’t there to execute it.

Of course, Blade II having piddly CG is the least of its problems. It’s got a lousy script (courtesy David S. Goyer) and some really, really bad acting. And costumes. The costumes are terrible. At some point the vampire super-vampire hunters put on this glossy black body armor and look like the stormtroopers from Masters of the Universe: The Movie. It’s also not clear how the body armor helps them? Or would help them against the super-vampires or Snipes—see, Snipes has to take over this team of elite vampire commandos who trained to take him out but now have to deal with the more dangerous super-vampires. About the only way to make the shiny body armor sense would be if Snipes had them wear it to embarrass them.

But the shiny body armor is nothing compare to main villain Luke Goss’s ratty clothes. He’s got this intricately choreographed fight scenes but thanks to the costume he looks lumbering and artificially sped up. Blade II has a bunch of slowdown and speedup editing techniques. They’re all terrible. Not sure if they’re editor Peter Amundson’s fault or del Toro’s.

The film is a particularly frustrating tug of war between attentions—it’s a Snipes star vehicle, only Goyer’s script gives way too much to the supporting cast (almost to snipe Snipes), and then del Toro’s just trying to show off what he can do. At least del Toro doesn’t actively work against Snipes, who easily gives the film’s best performance but only because he’s not terrible like almost everyone else. Goss ends up giving the second best performance by default; he’s at least trying. If the rest of the cast is trying and Blade II is the best they give… shivers.

The worst performance is probably Norman Reedus as Snipes’s new sidekick. The film opens with Snipes rescuing his old sidekick, Kris Kristofferson, who’s also bad, but not as bad as Reedus. Kristofferson’s still really bad, but at least he’s committed to the performance. He was nowhere near as physical in the first movie as in this one, crawling all around as Snipes and Reedus worry the vampires secretly turned him before Snipes could rescue him. Is Leonor Varela worse than Kristofferson? Maybe. She’s really bad. But she and Kristofferson are better than Thomas Kretschmann, as the head vampire (and Varela’s father; the film never explains if its vampire father or father father). The more Kretschmann gets to do, the worse Kretschmann’s performance. Blade II doesn’t even get a good performance out of Ron Perlman, partially because—even though Goyer’s script doesn’t want to give Snipes too much to do, it also features him frequently pwning his uneasy vampire allies at every turn.

The rest of the supporting cast is low middling, with Danny John-Jules’s being the most acceptable. Matt Schulze is nowhere near as bad as I was expecting; possibly because Perlman not being good draws attention away from him.

Gabriel Beristain’s photography runs mostly cold. Despite that awesome sword fight scene, which is shot entirely in blue light except for the spotlights—it’s so gorgeous it’s hard to say the film’s not worth seeing just for it; maybe the sequence is on YouTube—but other than that scene, Beristain and del Toro shoot the nighttime exteriors through a sort of piss yellow filter. There’s some okay lighting throughout, but mostly piss yellow. Not sure if it’s a budgetary choice or a stylistic one but the result is… pissy. The action choreography deserves better.

The second best thing—after the good or better fight scenes—is Marco Beltrami’s score. Sure, it’s derivative of other famous film scores, but it comes together fairly well. Except when the action is cutting between all the “good guys” fighting the Max Schrecks… there’s no flow between the action focuses in the score. Benefit of the doubt is Beltrami scored each character’s sequence separately and then Amundson screwed it up in the cutting but it’s just as probable Beltrami couldn’t figure out how to go between sequences. Like, it’s a surprisingly good score for Beltrami. The heavier lifting might’ve escaped him. Fixing a poorly conceived action sequence is a lot for a score to do.

Anyway. Blade II. It’s a disappointment. It’s a testament to Del Tori the film’s a disappointment, given the crappy script and the bad acting and the goofy visual effects. As for poor Snipes, who has to fight for relevancy in his own vehicle… he gets a pass. He’s able to sell the potential for the franchise, even if the film doesn’t.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Guillermo del Toro; screenplay by David S. Goyer, based on the Marvel Comics character created by Marv Wolfman and Gene Colan; director of photography, Gabriel Beristain; edited by Peter Amundson; music by Marco Beltrami; production designer, Carol Spier; produced by Tomas Krejci, Patrick J. Palmer, Peter Frankfurt, and Wesley Snipes; released by New Line Cinema.

Starring Wesley Snipes (Blade), Kris Kristofferson (Whistler), Leonor Varela (Nyssa), Luke Goss (Nomak), Norman Reedus (Scud), Thomas Kretschmann (Damaskinos), Danny John-Jules (Asad), Matt Schulze (Chupa), Donnie Yen (Snowman), Karel Roden (Kounen), and Ron Perlman (Reinhardt).


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Mimic (1997, Guillermo del Toro), the director's cut

Based on one of the edits, I’m assuming Mimic isn’t exactly a director’s cut (i.e. del Toro finished his cut, the Weinsteins took it and reedited it) as an approximation. He went back and did what he could to make it fit his intent. Maybe there are more examples—I haven’t seen the original cut—but the one I noticed was jarring.

Mimic’s not a bad film, but no one was really trying except the actors. I make that statement assuming Jeremy Northam was trying to be a thinking American action hero… but he just couldn’t do the accent.

The script takes a lot of short cuts. You’re supposed to care about Northam and wife Mira Sorvino because they’re having trouble having a baby.

Sorvino makes Mimic work—her early scenes with sidekick Alix Koromzay do wonders to establish the character.

Having the protagonists be married and in this thriller does show some ingenuity on del Toro’s part. It would work if Northam were good. And if del Toro didn’t have a little autistic kid in danger. del Toro does kill off a couple kids, which is a shock.

The cast is all strong—Giancarlo Giannini as the autistic kid’s guardian, Charles S. Dutton as a transit cop who’s stuck with Northam, Josh Brolin as Northam’s partner.

Oh, I forgot that ludicrous bit. The script has Northam and Brolin acting like movie detectives… only they’re CDC employees.

Great special effects. Terrible Marco Beltrami music. It evens out.

Mimic’s fine.

2/4★★

CREDITS

Directed by Guillermo del Toro; screenplay by Matthew Robbins and del Toro, based on a screen story by Robbins and del Toro and the short story by Donald A. Wollheim; director of photography, Dan Laustsen; edited by Peter Devaney Flanagan and Patrick Lussier; music by Marco Beltrami; production designer, Carol Spier; produced by Ole Bornedal, B.J. Rack and Bob Weinstein; released by Dimension Films.

Starring Mira Sorvino (Dr. Susan Tyler), Jeremy Northam (Dr. Peter Mann), Alexander Goodwin (Chuy), Giancarlo Giannini (Manny), Charles S. Dutton (Leonard), Josh Brolin (Josh), Alix Koromzay (Remy), F. Murray Abraham (Dr. Gates), James Costa (Ricky), Javon Barnwell (Davis), Norman Reedus (Jeremy) and Ho Pak-kwong (Preacher).


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Pandorum (2009, Christian Alvart)

A lot of Pandorum is the best thing producers Jeremy Bolt and Paul W.S. Anderson have ever had their names on. It falls apart, after a weak open no less, at the end. The very end. It reminded me of Outland, the exit is so stupid. It totally invalidates the trials the protagonists went through for two hours. Very disappointing.

The film takes forever to get going–I think it’s about a half hour in before we hear anyone talk besides Dennis Quaid and Ben Foster.

Foster manages to apply his acting skills to what’s either a lame action hero role or a miscast character actor role. He turns it into something special, a self-reflective protagonist. He’s excellent.

Quaid’s good too, especially considering he spends most of his time talking into a radio to Foster.

What’s so nice about Pandorum, which is really just a b sci-fi movie made with modern special effects (in Panavision), is how it manages to actually have a surprise ending. It doesn’t set it up at all, it doesn’t hint at it at all–there’s some diversion going on, but the diversion seems a lot like it’s going to be the surprise ending. It’s great. Then it goes to pot with the exit.

There are some good supporting performances–Antje Traue and Eddie Rouse in particular. The only bad performance is Cam Gigandet, who’s just godawful.

Alvart’s direction is fine, but someone like John Carpenter probably could have done wonders with the script.

1.5/4★½

CREDITS

Directed by Christian Alvart; screenplay by Travis Milloy, based on a story by Milloy and Alvart; director of photography, Wedigo von Schultzendorff; edited by Philipp Stahl and Yvonne Valdez; music by Michl Britsch; production designer, Richard Bridgland; produced by Paul W.S. Anderson, Jeremy Bolt, Robert Kulzer and Martin Moszkowicz; released by Overture Films.

Starring Dennis Quaid (Payton), Ben Foster (Bower), Cam Gigandet (Gallo), Antje Traue (Nadia), Cung Le (Manh), Eddie Rouse (Leland) and Norman Reedus (Shepard).


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