Tag Archives: Wayne Knight

Dead-End for Delia (1993, Phil Joanou)

Director Joanou definitely familiarized himself with film noir before directing Dead-End for Delia (an episode of noir anthology “Fallen Angels”) but apparently didn’t realized doing it in color would break the shots. Especially since cinematographer Declan Quinn often just boosts the contrast to hide modern background elements.

But Scott Frank’s script is also a problem. He and Joanou play up the film noir homage to an absurd level, with Gary Oldman walking around in a coat too big for him like it’s a B noir from the fifties and not something with a budget. Frank’s script (it’s based on a short story) has a couple nice moments, but the twist is obvious and weak.

Ditto the acting. Gabrielle Anwar’s terrible as the titular character and Oldman ranges from mediocre to bored. Meg Tilly, Vondie Curtis-Hall and Paul Guilfoyle do provide nice supporting work though.

Besides them, there’s nothing here.

1/3Not Recommended

CREDITS

Directed by Phil Joanou; teleplay by Scott Frank, based on the story by William Campbell Gault; “Fallen Angels” created by William Horberg; director of photography, Declan Quinn; edited by Stan Salfas; production designer, Armin Ganz; produced by Horberg, Lindsay Doran and Steve Golin; released by Showtime Networks.

Starring Gary Oldman (Pat Keiley), Meg Tilly (Lois Weldon), Paul Guilfoyle (Steve Prokowski), Vondie Curtis-Hall (David O’Connor), Dan Hedaya (Lt. Calender), Wayne Knight (Leo Cunningham), Patrick Masset (Joe Helgeson), John Putch (Officer Barnes) and Gabrielle Anwar (Delia).


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Basic Instinct (1992, Paul Verhoeven), the unrated version

Basic Instinct somehow manages to be smart and stupid at the same time. The direction and the production are impeccable. Verhoeven sort of does a nouveau Hitchcock thing–ably aided by Jerry Goldsmith’s score–while mixing in a bit of film noir. He does this thing with establishing shots; the focus is always on character, never the setting (with a costal highway being the exception). Jan de Bont’s photography, Frank J. Urioste’s editing, these guys are at the top of their game. It’s a brilliantly made film.

It’s also frequently dumb. Verhoeven coats over most of the stupidity in Joe Eszterhas’s script with ease. There’ll be a dumb cop scene but it plays great, usually thanks to Verhoeven’s composition, his direction of the cast and the actors in the film. Instinct has great supporting turns from George Dzundza and Denis Arndt, but also excellent bit support from Bruce A. Young, Chelcie Ross, Wayne Knight, Daniel von Bargen and Stephen Tobolowsky. Verhoeven uses actors with immediate gravitas. Works beautifully.

The leads aren’t as simple an equation. Sharon Stone’s performance is integral to the film and all of her scenes–except one, where Eszterhas can’t come up with any motivation for her so tries to be sensational–are great. Michael Douglas, not so much. Both he and Stone are unlikable, the mystery is supposed to be the hook. It’s a decent hook, but Douglas can’t sell his character.

Jeanne Tripplehorn’s okay in the third biggest part.

Instinct’s beautifully made, utter nonsense.

1.5/4★½

CREDITS

Directed by Paul Verhoeven; written by Joe Eszterhas; director of photography, Jan de Bont; edited by Frank J. Urisote; music by Jerry Goldsmith; production designer, Terence Marsh; produced by Alan Marshall; released by Tri-Star Pictures.

Starring Michael Douglas (Detective Nick Curran), Sharon Stone (Catherine Tramell), George Dzundza (Gus), Jeanne Tripplehorn (Dr. Beth Garner), Denis Arndt (Lieutenant Walker), Leilani Sarelle (Roxy), Bruce A. Young (Andrews), Chelcie Ross (Captain Talcott), Dorothy Malone (Hazel Dobkins), Wayne Knight (John Correli), Daniel von Bargen (Lieutenant Nilsen), Stephen Tobolowsky (Dr. Lamott) and Benjamin Mouton (Harrigan).


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Dead Again (1991, Kenneth Branagh)

I indistinctly remember the last time I saw Dead Again, I didn’t think much of it. I don’t know what I could have been thinking.

Until the last act, which slaps a mystery conclusion onto an amnesia thriller without enough padding, the film’s utterly fantastic. Branagh’s direction is great, but the most striking thing initially about the film is how good he plays an American. He gives L.A. a natural look, no sensationalizing (though probably some beautifully) and his character moves amusingly through it. Scott Frank’s script is great too; the two styles, Branagh’s America and Frank’s modern detective, match perfectly.

The acting is amazing. Branagh and Emma Thompson have to essay modern characters and their previous incarnations in the forties with a not insignificant twist in the second act. Only no one can know the twist, but the acting has to be consistent with it throughout. One’s not looking for clues on a repeat viewing so much as understanding how the performances work with the actors being aware of the twist.

There’s also Derek Jacobi as a nebbish, which is hilarious. Andy García gives a mannered, textured performance—Branagh’s direction probably helps. Robin Williams’s excellent in his cameo.

Patrick Doyle’s score is wonderful, as is Matthew F. Leonetti’s cinematography. It would be interesting to see the Welles influenced flashback scenes in their original color.

The too standard ending is technically successful (with Blood Simple homages no less).

Though it ends on its weakest footing, Dead Again’s a significant success.

3/4★★★

CREDITS

Directed by Kenneth Branagh; written by Scott Frank; director of photography, Matthew F. Leonetti; edited by Peter E. Berger; music by Patrick Doyle; production designer, Tim Harvey; produced by Lindsay Doran and Charles H. Maguire; released by Paramount Pictures

Starring Kenneth Branagh (Mike/Roman), Emma Thompson (Grace/Margaret), Andy Garcia (Gray Baker), Derek Jacobi (Franklyn Madson), Wayne Knight (Pete Dugan), Hanna Schygulla (Inga) and Campbell Scott (Doug).


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Punisher: War Zone (2008, Lexi Alexander)

Punisher: War Zone got a theatrical release (sorry for the passive voice, but pointing out Lionsgate released it in the theater sort of kills the emphasis). I’m not sure I have the vocabulary to describe the terrible script. Watching an early exchange between mobsters, I kept wondering if Italian American associations were aware of the film (I’m guessing they aren’t). The characters are so stereotypical, the portrayal so offensive… it’s incredible. But the mob being the movie’s big villains elucidates War Zone‘s biggest (narrative) idiocy–it’s just a hodgepodge of superhero movies. The movie rips off an opening scene from Frank Miller’s Batman: Year One comic book, but then cribs the entire approach from Batman Begins (where the hero doesn’t actually fight crime unrelated to the plot’s main villain). But there’s a Superman reference in the subway hideout and some other malarky I’m sure. The script’s idiotic.

So why watch Punisher: War Zone? The terrible opening credits don’t give any indication of it, but Michael Wandmacher’s score is good and Steve Gainer’s photography is fantastic. The photography seems to go for HDR (high dynamic range), which makes the Panavision frame wondrous at times. Lexi Alexander intercuts Manhattan skyscrapers with Montréal streets to poor effect–actually, Montréal’s a decent stand-in, physically, for New York, but Alexander’s movie New York is one of the most absurd I’ve ever seen. It’s like she’s not only never been there, she hasn’t even watched a movie set there. Alexander’s actually a decent director. She has an annoying Panavision habit of putting people, in cuts, on opposite sides of the frame, but by the end of the movie, she’s got it working. She’d direct great commercials or music videos, since she can’t impart any emotionality to her work. There isn’t a single subtle moment in War Zone, it’s just too stupid.

Some of the stupidest developments in the film are the inclusion of Wayne Knight as a sidekick and the revelation the Punisher dropped out of seminary. I don’t know why the latter got included, maybe so they could have a dumb scene with the Punisher at church, but it’s one of the stupider things in the film. Knight’s sidekick, who seemingly funds the Punisher’s war on selected criminals from a tiny apartment, is also something else. Knight–even with the goatee–isn’t bad. He’s got some dumb lines, but he isn’t bad.

Producer Gale Anne Hurd has made some big movies and some good movies. Presumably, while on set, she must have noticed Ray Stevenson couldn’t act. He’s atrocious as the lead. Punisher: War Zone has a future as a drinking game. Alexander barely gives him any lines, but he flubs every single one of them. Julie Benz (is she the Lionsgate version of 1990s Miramax Neve Campbell or something?) is awful. Colin Salmon, who’s usually good, gives a terrible performance. Talking about him, I forgot to mention the stupid last names. Everyone in the film has a super-ethnic last name, presumably to make it more authentic. Dash Mihok, in the movie’s supposedly comic role, is terrible. Alexander and the script don’t understand humor. They should have brought Rob Schneider or the guys who wrote Beverly Hills Ninja in to give it some oomph.

But talking about the actors brings me to the real reason to watch Punisher: War Zone. Dominic West. He’s not stretching any thespian muscles in his portrayal of a psycho (oh, another comic book movie reference, the Burton Batman), but he’s a joy to watch. Given the filmmakers were able to hire West to appear in this cinematic turd, it’s a testament to their jaw-dropping lack of intelligence they didn’t fire Stevenson and put West in the lead. If he can make this underwritten goober of a role work, imagine what he could have done as the Punisher.

As West’s cannibal sidekick, Doug Hutchinson is fine. He’s been acting for a long time, so Alexander’s ineptness at directing actors mustn’t have contaminated him.

Punisher: War Zone is watchable dreck. The movie looks good–Alexander’s action scenes concentrate too much on the gore instead of, well, any action–and West is a joy to watch. I wonder if anyone involved in the film has seen “The Wire,” but all evidence suggests not. And it’s definitely one of Lionsgate’s less appalling pictures.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Lexi Alexander; screenplay by Nick Santora, Art Marcum and Matt Holloway, based on the Marvel Comics character created by Gerry Conway, John Romita Sr. and Ross Andru; director of photography, Steve Gainer; edited by William Yeh; music by Michael Wandmacher; production designer, Andrew Neskoromny; produced by Gale Anne Hurd; released by Lionsgate.

Starring Ray Stevenson (Frank Castle), Dominic West (Billy Russoti), Doug Hutchison (Loony Bin Jim), Colin Salmon (Special Agent Paul Budiansky), Wayne Knight (Microchip), Dash Mihok (Det. Martin Soap) and Julie Benz (Angela Donatelli).


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