Tag Archives: Raoul Bova

Avenging Angelo (2002, Martyn Burke)

Avenging Angelo plays like a Sandra Bullock comedy from the late 1990s, except it’s Madeleine Stowe in the Bullock role and… I don’t know Stallone in the Keanu Reeves role, if Keanu Reeves did romantic comedies. Maybe still-on-“ER” George Clooney or someone. There aren’t any Italian movie stars in Hollywood right now… oh, obviously, Antonio Banderas playing an Italian. Anyway, instead of Bullock and Banderas, it’s Stowe and Stallone, which makes Avenging Angelo all of a sudden a very different romantic comedy. First, it’s a romantic comedy about the Mafia; that genre is rarely explored. But the reason it works as a romantic Mafia comedy is because of the second different aspect… Stallone and Stowe aren’t young. Stowe being a bored wealthy housewife on Long Island makes a lot of sense. Stallone as the bodyguard who’s always been too busy protecting Stowe (without her knowing, of course) to have a life of his own. Too little of the time lost angle is discussed in the film–it’s way too subtle, to the point I almost suspect the writers never went in and made it age appropriate for Stowe and Stallone, leaving it for Bullock and Banderas or whoever.

Stallone pretty much makes the movie; it’s clear from the beginning, he’s having a great time, whether it’s working with Anthony Quinn (in these scenes, Stallone doesn’t even bother acting, just spends them enjoying Quinn’s company) or doing the romantic comedy lead. The movie’s not long, so the first act is when Stowe actually has the most character-defining acting to do and she’s fine. There’s not much of a role (her husband is a louse, she misses her kid, her life is boring and shallow) for her to work with, but, since it’s a short movie, pretty soon she’s in full romantic comedy lead mode too.

A film made in 2002, Avenging Angelo has as much use of songs for background music as one made in 1988. There are at least six of these montages and the film’s got a nice Bill Conti score, so either the script really didn’t have enough going on (as it plays, the film’s sub-plotless) or Conti was just too busy… or I suppose they wanted to have enough for a soundtrack release?

Being a romantic comedy, the film hinges on Stallone and Stowe’s chemistry and they’re good together, but it’s understandable why the film didn’t get a theatrical release. Stowe never recovered from her disappearance from the screen in the late 1990s (at the height of her career) and Stallone’s fans never went for his comedic turns… and it reminded me a lot of Faithful (the comedy with Chazz Palminteri and Cher)–down to the action being centered around two people in a house. And no one ever asked for another Faithful….

But, all in all, it’s a pleasant, traditional romantic comedy. Perfectly fine.

2/4★★

CREDITS

Directed by Martyn Burke; screenplay by Will Aldis and Steve Mackall, from a story by Aldis; director of photography, Ousama Rawi; edited by David Codron; music by Bill Conti; production designer, Eric Fraser; produced by Tarak Ben Ammar, Elie Samaha and Stanley Wilson; released by Warner Bros.

Starring Sylvester Stallone (Frankie Delano), Madeleine Stowe (Jennifer Barrett), Anthony Quinn (Angelo Allieghieri), Raoul Bova (Marcello), Harry Van Gorkum (Kip Barrett), Billy Gardell (Bruno), George Touliatos (Lucio Malatesta) and Angelo Celeste (The Priest).


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Alien vs. Predator (2004, Paul W.S. Anderson), the director's cut

Now, who exactly thought a film entitled Alien vs. Predator could be good? I mean… just from the title, it’s obvious there’s a fairly low potential for the film. As such, Alien vs. Predator is fine. It’s wholly watchable. It’s stupid and there are some enormous plot holes–not just in the established Alien or Predator canon, but in what the film itself has already established–but it’s called Alien vs. Predator. Any film with “vs.” in the title is automatically exempt from certain critical reasoning. Those plot holes in Alien vs. Predator shouldn’t bother anyone because the point of the film is not the understand it, rather to see it. I’ve seen Alien vs. Predator before (there was a review up on The Stop Button over a year ago, in the pre-archive) and when I was actually able to rent the monumental director’s cut (it adds eight minutes and I noticed maybe one new scene, but it isn’t like I had the film committed to memory).

In a few ways, Alien vs. Predator reminded me of Superman Returns, as I got to see some things I didn’t expect. Had any filmmaker of any merit made another Alien sequel or another Predator sequel, he or she would never have glazed on some of Alien vs. Predator’s enjoyable stupidity. No one with any artistic ability would ever have an Alien Queen chasing someone like a dinosaur out of Jurassic Park (or so visibly lift the opening to Jurassic Park for another über-mainstream film), but that lack of creativity is Paul W.S. Anderson’s strongest filmmaking virtue. Anderson makes a pseudo-scientific argument, which struck me as a goof on some film I can’t quite remember, some occasionally witty dialogue, a handful of lame characters (played, usually, by good actors), and let loose. The result was a film with some decent action (though the Alien and Predator fights could have been more dynamic) and some decent visuals. Anderson litters the film with references to the other Alien and Predator films, but he never really has any good money shots. It might be–this example being the only significant inconsistency I couldn’t let go–because the Predators are all short. They’re short and stocky and they don’t look right. They were designed to be lean and tall and Anderson doesn’t redesign the look in a way not to make them look like runts. Interestingly, the guy who played all the Predator roles was 7’1”, so Anderson did something wrong.

With the casting, however, Anderson did all right. Lance Henriksen is boring in his glorified cameo and Sanaa Latham is only acceptable when she’s got speaking actors to act off, but otherwise there’s some decent performances. Maybe I’m being a little rough on Latham, but she spends the last twenty minutes or so with no one to talk to and it messes up her performance, making Alien vs. Predator, for the first time, seem like something not even the actors could take seriously. Raoul Bova, Ewen Bremner, and Tommy Flanagan are all good, with Bremner and Flanagan even really acting in their scenes together.

I just realized how long this post is getting, but Alien vs. Predator is one of the more known films I’ve written up (I can always easily rant on a discussed topic). I’m unable to get over the negative response to this film. If you want a good movie, you don’t see one called Alien vs. Predator–nothing with a title like this one has any promise of being good. Unfortunately, I imagine the Alien vs. Predator movie the fans “wanted” would be even worse.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Paul W.S. Anderson; screenplay by Anderson, based on a story by Anderson, Dan O’Bannon and Ronald Shusett, and characters created by O’Bannon, Shusett, Jim Thomas and John Thomas; director of photography, David Johnson; edited by Alexander Berner; music by Harald Kloser; production designer, Richard Bridgland; produced by John Davis, Gordon Carroll, David Giler and Walter Hill; released by 20th Century Fox.

Starring Sanaa Lathan (Alexa Woods), Raoul Bova (Sebastian De Rosa), Lance Henriksen (Charles Bishop Weyland), Ewen Bremner (Graeme Miller), Colin Salmon (Maxwell Stafford) and Tommy Flanagan (Mark Verheiden).


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