Tag: seal of approval

Bandidas

  By

★★★★
“How the West was Wo(ma)n…”

Let us make no mistake about this, this is a frothy confection of a film, which is not intended to be taken seriously; to do so, would be a serious mistake. The closest parallel here is probably to think of it as a distaff version of Shanghai Noon, with an odd couple teaming up for fun ‘n’ frolics in the Old West. Robber baron Tyler Jackson (Yoakam) comes to Mexico to take away land from the locals so a railroad can be built. In the process, he kills the fathers of both farm-girl Maria (Cruz) and rich-girl Sara (Salma), so he can take their property and bank respectively. To get revenge, each lady independently decides to rob the same bank at the same time, and are forced to team-up; their widely-disparate characters initially cause friction, but they eventally come to respect each other, after being trained by retired robber Bill Buck (Sam Shephard).

When they start their campaign, Jackson brings in a specialist in the new ‘scientific method’ of criminal investigation, Quentin (Zahn), to help track down the bandidas. However, after discovering Sara’s father was poisoned, heis convinced by the pair that he is actually working for the wrong side, and comes across to join them. The latest security measures are defeated – with the aid of a pair of ice-skates! – and as a result a train is loaded with the Mexican government’s gold reserve, to ship it to safety in Mexico. The bandidas resolve to take the cargo, but Jackson and his gang are waiting for them…as is Quentin’s fiancée…

This was co-written by Luc Besson: he is the engine-room of European cinema, listed as a producer of no less than 60 titles over the past five years on the IMDB. He likely deserves a place in the Girls With Guns hall of fame, having directed Nikita and The Messenger, given Milla Jovovich and Natalie Portman their action-debuts in The Fifth Element and Leon respectively, worked as an uncredited co-producer on Haute Tension, and now delivers this. It came up in response to a request from the two leads, who’ve wanted to work together for a long time, and he handed the script to two Norwegians, making their feature debut [but with a lot of commercial experience].

However, there’s no doubt that it’s the leading ladies who make this one click, right from the first scene together, where Sara confronts Maria, who has snuck in to the house to argue with Sara’s father about the ongoing land-grab. The bickering between the two, which continues, in an increasingly friendly way, through the entire film. Maria snipes at Sara because the latter can’t fire a gun to save her life – in a beautiful touch, she gets terrible hiccups when she tries; Sara taunts Maria for her lack of education.

The two also argue over who is the best kisser, notably in a scene where they are dressed as Paris showgirls, and are trying to extract information from Quentin, who is tied to the bed. And Steve Zaun was actually paid to take part? ;-) That’s about as far as the film goes, sexually speaking; much cleavage, but no actual nudity. A fondness for the heroines splashing around in water, especially early on, and the above-mentioned comedic seduction scene, is about as close as we get to exploitation. That news may disappoint some readers, but it really wouldn’t be in keeping with the overall tone of the movie, which is light-hearted and firmly PG-13 rated, despite lesbian scuttlebutt which circulated afte a press conference where Penelope (gasp!) touched Salma’s butt.

What did disappoint me was the action. I expected more from Besson, who helped give us such gems as The Transporter and District B-13, as well as the titles mentioned above, though a couple of moments stand out. There’s a bravura slow-motion scene in the final battle – bullets, knives, bodies and debris fly in a single shot, the camera panning back and forth to capture the carnage. But, the most amazing part is seeing a horse, with a rider on its back, climb a ladder. This was apparently a combination of training (the horse, with a stunt rider, walked up a specially-made set of stairs) and CGI work by Parisian FX house Macguff, to replace the stairs with a ladder, add dust and bounce, etc. It’s a throwaway moment, in a throwaway film, but is worthy of note, and applause.

That may be perhaps down to the leads’ lack of experience: Cruz’s only real brush with the action genre was Sahara, Hayek has more background (working with Robert Rodriguez helps there), but neither of them would appear to be looking to make a name for themselves with their work here. A sequel is hinted at by the ending; however, that this $30m production went all but straight to video in the US and notched only $18m overseas would seem to rule this out. One wonders why, for a film set in Mexico and with two Hispanic leads, why they didn’t speak Spanish; one assumes Besson, with his eye on the international market, went for the more commercial English, even though Cruz seems slightly ill-at-ease thee.

These qualms are relatively minor, and if not the all-out action fest I was hoping for, it’s certainly among the best Westernettes of recent years. This is not a genre which has been kind to action heroines in the past, including such bombs – justifiable or not – as Bad Girls and The Quick and the Dead, as well as less high-profile turkeys as Gang of Roses. Bandidas is nowhere in the same league, and if survives almost entirely on the charisma and energy of Cruz and Hayek, that’s by itself is something which most movies would like to have. If you can certainly argue that to some extent this is a vanity project, here, I’d be very hard pushed to call vanity a sin.

Dir: Joachim Rønning and Espen Sandberg
Stars: Penelope Cruz, Salma Hayek, Steve Zahn, Dwight Yoakam

"If you can certainly argue that to some extent this is a vanity project, here, I’d be very hard pushed to call vanity a sin."

Crouching Tiger, Hidden Dragon

  By

crouching1★★★★★
“Broads with swords.”

crouching2Not many subtitled movies can claim to have inspired commercials (Jean de Florette being the only other that comes to mind), but seeing the Mountain Dew advert obviously based on this movie makes you realise just how deeply this film has permeated into the American pop psyche. But while this contains the most spectacularly kick-ass action ever seen in Western multiplexes (note the qualifier), at heart, it’s a set of exquisitely tragic love stories, spun into a web which simultaneously confounds expectations and fails to live up to them.

 It’s clear from the start that Lee is not following the traditional approach to martial arts movies, which usually start with a thump to get the audience’s attention. He is happy to set the scene and introduce the characters for the first quarter of an hour in a stately and mannered way that belies what is to come. Similarly, the action climax happens twenty minutes before the end.

The other major variation from standard practice is that the acting is fabulous – often in HK action movies, this is an afterthought, and the likes of Jackie “two expressions” Chan and Jet “that’s one more than me” Li are never going to win Oscars. I would previously have put Yeoh in the same category, but Lee coaxes a performance of great depth from her – having Chow Yun-Fat, possibly the best, and certainly the most charismatic Asian star, to work against does no harm either. This is what lifts the film up to undreamt of heights: have Steven Seagal or Jean-Claude Van Damme ever brought tears to anyone’s eye? [Except perhaps the poor schmuck who paid for a cinema ticket!]

Yet if the acting sets a new standard, the action surprisingly doesn’t, at least not to anyone familiar with Hong Kong movies. This kind of thing has been done, to the point where it can even be mercilessly lampooned by the likes of Flying Dagger, which has its own treetop battle. This perhaps explains why its record-setting box-office in the United States (doubling the take of any previous subtitled movie) was conspicuously absent in the Far East. While Zhang YiYi’s restaurant demolition job is memorable, for me the highlight pitted Yeoh against Zhang in Yeoh’s home, a balletic battle which worked particularly well because it largely rejected the fly-by-wirework running through the rest of the movie. I’m a traditionalist in such things, and always prefer genuine physical ability to special effects.

The plot unfolds with a stately elegance, showing little regard for normal chronology. The easiest way to describe it is to break it down into smaller components – any one of which would provide sufficient content for your average kung-fu film – each running through the movie like the strands in a rope:

  • The powerful but undeclared love between two swordsmen, Li (Chow) and Yu (Yeoh).
  • The struggle for control over the legendary Green Destiny sword.
  • Jen (Zhang) and her long lost love, the bandit Lo (Chang) – who returns just in time for her impending arranged marriage.
  • Jen’s apprenticeship to the villainous Jade Fox (Cheng), who will not let her go at any cost.
  • Li’s quest for revenge against Jade Fox, who killed his master.

crouching3The sisterly relationship between Yu and Jen is particularly impressive, with the older woman trying to guide the willful youth and prevent her from making the same mistakes she did. But when (even in ancient China!) has anyone been able to tell a teenager anything? Special praise also to veteran Cheng, whose Jade Fox is a fabulous character, worthy of more screen time than she gets here – I’d love to see a prequel, setting up the story between her and Li. In comparison, the men are somewhat ill-defined, particularly Lo: you never get much sense of why Jen fell for the man who kidnapped her, and I can only really blame it on Stockholm Syndrome. Despite being reduced to a supporting role, Chow Yun-Fat is as good as ever, though I’ve heard tell that his Mandarin accent leaves a little to be desired, since he’s a Cantonese speaker naturally!

Regardless: what you have here are three of the strongest and finest female characters of the past decade, excellent acting and amazing action. The result is as close to perfect as anyone could reasonably expect.

Dir: Ang Lee
Star: Michelle Yeoh, Zhang ZiYi, Chow Yun-Fat, Chang Chen, Cheng Pei Pei

Run Lola Run

  By

lola★★★★★
“She’s got legs… And she knows how to use them.”

The term “action heroine” moves into a whole new dimension with this movie: no gun-battles, no fight-scenes, no explosions, but it still maintains a breathless pace for almost the entire 81 minutes. Lola (Potente) needs to find DM100,000 in 20 minutes, after her boyfriend Manni (Bleibtreu) loses a bag of money he was supposes to deliver to a highly dubious character. All this is set up in about five minutes, and then Lola is off, sprinting to try and get the cash.

The key twist is the film depicting three parallel stories; all start with her leaving her apartment, but they gradually diverge, and end in three radically different conclusions. One of the film’s myriad delights is seeing how they interweave, with the differing fates of the various characters, and how tiny changes in the decisions we make can have massive consequences.

Right from the start, when Lola lobs a phone in the air and it lands spot-on the cradle, we know she has unusual powers. Her screams can shatter glass, and there’s one moment, in the casino, when she turns to the manager and looks at him. “Just one more game”, she says, and as portrayed by Potente (an amazing performance, with “future star” written through it), her gaze comes across as a force of nature more powerful than a typhoon. Lola is someone absolutely determined to have what she wants – “love conquers all”, if you like – and she even seems capable of rewinding time through sheer will, when the results go against her.

Yet, curiously, certain experiences appear to carry forward: in run #1, she is shown how to use a gun, in run #2, she needs no such tuition. A security guard we see clutching his heart in #2, is met in an ambulance in #3. Tykwer sees no need to explain any of this (is it merely being played out in Lola’s mind?), yet spotting these things are part of what makes the film so incredibly rewatchable. Even after half-a-dozen viewings, I’m still finding new facets e.g. the number she bets on in the casino, 20, is also the number of minutes she has to save Manni, since there’s simply so much crammed in.

lola2Special mention needs to be made of the soundtrack, a pumping mix of techno co-created by Tykwer, which helps drive the film along at a blistering pace, and is one of the few soundtracks I will listen to on their own. Yet there are also tender moments (probably essential to prevent the audience from hyperventilating and going into shock), which Tykwer handles with skill and aplomb. Lola is something of an aberration in his filmography, stylistically: his other work such as Winter Sleepers are much more languidly-paced, but do cover similar themes of randomness and its effects. The end result is a film which manages to be shallowly entertaining and deeply satisfying at the same time. You can enjoy it purely on a “what happens next?” level, or appreciate it as something with so much depth that it can even be viewed as a retelling of the myth of Orpheus (the evidence pointing to such an interpretation is too lengthy to go into here). Truly a film with something for everyone, and for some, like myself, it has everything.

Dir: Tom Tykwer
Stars: Franka Potente, Moritz Bleibtreu, Herbert Knaup, Nena Petri

Charlie’s Angels (movie)

  By

★★★★
“…and then there’s the ho.”

Making movies based on a TV show is always fraught with danger. You’ve got to convince the audience to pay good money to see the same thing they can watch for free at home, yet you can’t stray too far from the central concept, or you’ll alienate the fans. One possible countermeasure is to go for an old show, less likely to have a rabid fanbase, which you can update safely. Yet this too is problematic: anyone see The Mod Squad?

Charlie’s Angels, however, avoids most of the pitfalls, and is a thoroughly enjoyable blast – little wonder it took more money at the box-office than almost any other female action movie in history. While not faultless (the lack of characterisation is particularly woeful), it never sets out to be any more than a good time, and in that capacity it succeeds admirably, mixing violence, sex and humour to optimum efficiency. The plot can be easily dismissed: the trio investigate a kidnapped computer tycoon, only to find things are not quite what they seem, as they uncover a plot to kill their unseen boss, Charlie. There – that’s that out of the way.

Almost as rapidly put aside are the lead characters: Alex (Liu), Natalie (Diaz), and Dylan (Barrymore). Margaret Cho once said – partly in reference to the original Charlie’s Angels TV series – that whenever you get three female friends, there’s the smart one, the pretty one…and then there’s the ho. True to form, the movie replicates this: Alex’s main scene has her as a ferocious efficiency expert, the main ambition for Natalie seems to be to appear on Soul Train (in a totally irrelevant but good-natured sequence), while Dylan beds the client without even reaching a “first date”. Work out which is which yourself. :-)

If there’s nothing there to keep you interested, the film makes up for it in lots of other ways. The aim was to make it seem like turning pages of a comic-book, and this certainly succeeds – there’s always something going on. While the nods to political correctness are kinda irritating (the villain and all his henchmen can muster precisely one gun between them), no-one is really taking it seriously, and the tongue-in-cheek approach saves the whole thing. The supporting cast are good, too: Bill Murray as their overseer is his usual laconic self, while Kelly Lynch and Crispin Glover give good support to Sam Rockwell.

The film manages to capture the spirit of the original show, without being a slave to it. I appreciated the nods to its predecessor e.g. the voice of Charlie being the same actor, and I believe even the speakerphone was the very one used on the TV show! The soundtrack, similarly, is a nice mix of old and new, though points must be deducted for the film being partly responsible for inflicting Destiny’s Child on the universe at large.

 It is, however, the action scenes which stand out and, frankly, make up for the film’s deficiencies in other areas. Yuen Cheung-Yan is the brother of Yuen Wo-Ping – perhaps the greatest exponent of HK action – and while not quite as innovative or super-smooth as his sibling, he’s clearly cut from the same cloth. At the risk of sounding sexist, don’t forget we’re talking a bunch of girlies here – Diaz, Barrymore and Liu all came in without significant martial arts experience, and making them look as good as they do is a great feat. Kudos, too, for the actresses in question, who clearly put in no little effort themselves. [Thank heavens Thandie Newton, who single-handedly destroyed the first half of Mission Impossible 2, was unable to take part, and Lucy Liu stepped in.]

The pacing is a little weird though; apart from one impressive battle between the trio and Crispin Glover in a back-alley (to the tune of the Prodigy’s Smack My Bitch Up), all the martial arts is concentrated in one 20-minute span near the end. At one point we have Cameron Diaz taking on Kelly Lynch, Lucy Liu going toe-to-toe with Glover and Drew Barrymore taking on a whole roomful at virtually the same time, and the cross-cutting does get a little aggravating. Barrymore’s battle is very show-offish: she tells her opponents what she’s going to do, pauses in mid-stream to name the fighting techniques, and moonwalks out of there when she’s done. A tap on the wrist and a warning not to do it again, Drew.

Indeed, much the same could probably be said of the entire movie. It works beautifully, despite its flaws, but it wouldn’t bear frequent repetition. It’s no bad thing that, because of scheduling conflicts, the sequel isn’t due out until three years after the original. Candy is indeed dandy, but it’s not the sort of thing from which you can form your staple diet.

Dir: McG
Stars: Drew Barrymore, Lucy Liu, Cameron Diaz, Sam Rockwell

Bloody Mallory

  By

★★★★½
“From bad to hearse…”

It has been a long time since we’ve enjoyed a film so much. Right from the start, which shows a bride, in her wedding-dress, being stalked by a demon (or does it?), this grabbed our attention, and hardly let up for a second until the finale. I have to say, the odds are that you will either love this film, or fail entirely to ‘get’ what it’s trying to do and dismiss it as a lame Buffy ripoff. But in our living-room, it got four enthusiastic thumbs-up from the viewing panel, and seems like the perfect complement to beer and pizza.

After the opening, things for Mallory (Bonamy) go from bride to worse. [Hey, so I squeeze every drop of use from a pun. Sue me.] She’s now head of a team that investigates, and deals with, paranormal attacks – France seems to be the only country which has realised that such evil critters actually exist. She loses one member of her squad while repelling ghouls at a convent, and at the same time, new pope Hieronymus I (Spielvogel) is being kidnapped. She discovers he’s being held hostage in a nightmarish alternate dimension, so has to follow, and save the world from demonic invasion through the Hellmou…er, portal which is going to be opened, oh, any minute now.

There’s no doubt that director Julien Magnat was influenced by all the “right” films when it came to constructing his heroine: Mallory has Lola’s hair, Buffy’s martial-arts skill, the intensity of Michelle Rodriguez, and some of Resident Evil‘s Alice too. But none of them ever had gloves with ‘FUCK EVIL’ on the knuckles, drove a hearse, ran over black cats because “you never know”, or wore a tight, red waistcoat with a big ‘M’ embossed on the back [how there’s room in it for a large gun remains a charming mystery!]. Portrayed by Bonamy, who is unknown outside France (her only English-language role is a schoolgirl in Merchant-Ivory’s Jefferson in Paris), Mallory comes across as a convincing and original entry in the action heroine genre.

The other members of the team are hardly less imaginative – or, at least, the females, the guys are nowhere near so colourful or interesting. Completing the heroic trio are Vena Cava (Ribier – I think the character’s name is a Diamanda Galas reference), a six-foot “action transvestite”, as Eddie Izzard would say, an explosives expert with automatic weaponry in her platform soles, and Talking Tina, a mute telepath who can transfer her consciousness into animals or the dumber end of humanity. Both are excellent supporting characters; in a kinder universe, they would merit franchises of their own, Cava, in particular,

Less effective or interesting are the men, and it’s abundantly clear where Magnat’s passion lies. Father Carras (Collado), the Vatican priest and papal bodyguard is bland and colourless, despite having a name borrowed from The Exorcist. The best is actually Mallory’s demon husband (Julien Boisselier), now stuck in limbo after the murderous end to their marriage. The pair have a relationship which is genuinely touching, in a way which Joss Whedon could only dream of.

On the side of evil, again, the femmes rule, with Valentina Vargas and Sophie Tellier, as Lady Valentine and her shape-shifting sidekick, Morphine, giving performances which are suitably excessive and on the money. However, the climax of the film is disappointing, largely because Mallory has no genuine nemesis, with whom she can go toe-to-toe at the end – who’s she going to beat up, the Pope? [Actually, given his intolerant statements, you’ll likely be rooting for this from the get-go]

Some of the effects definitely leave a little to be desired – the demon masks look extremely rubbery, although personally, it reminded me of another energetic B-favourite, Rabid Grannies. However, the digital effects are great, particularly the exploding bodies; we especially loved the effect of Mallory’s cross-shaped holy-water spritzer. There were many moments where we went “Cool!”, at little things like the blood-red, swirling sky in the demon realm, the evaporation of Mallory’s husband into a cloud of rose petals, or the transformations of Morphine.

The attention paid to details like these helps immeasurably, and Magnat succeds admirably in his avowed intention of making something which has the look and feel of a Japanese comic-book come to life, with a lot of Dutch angles [this week’s pretentious technical term – it means the camera’s not level]. There’s almost no natural light at all, and each character has their own colour scheme: red/black for Mallory, blue/purple for Vena, burgundy/gold for Lady Valentine. Indeed, the soundtrack is by Kenji Kawai, whose credits include Ghost in the Shell.

Perhaps what we enjoyed most was the balance Magnat strikes between parody and drama. This is clearly not intended to be taken seriously – but the characters keep such admirably straight faces, that it became very easy to buy into the whole mythos, which in reality wouldn’t stand up to ten seconds of close scrutiny. There’s none of the self-awareness that plagued the later seasons of Buffy, and nor is there much angst or whining. The heroine has a mission to complete, and gets on with it, in a refreshingly straightforward manner.

Magnat’s wants his next project to be a return to The All-New Adventures of Chastity Blade, expanding on a 32-minute short film he made in the summer of 1999. This starred Lisa (Nightmare on Elm Street) Wilcox, playing a housewife who finds herself sucked into the world of the titular 1930’s pulp-fiction heroine after getting a bullet in the head. If he brings the same sense of style and wit to that concept as we enjoyed here, it promises to be worth our attention. Meanwhile, Mallory was picked up by Lion’s Gate in November 2002, and was passed by the MPAA (R, natch) in April last year – the same week as Gigli! Since then, nothing. However, a quick search on Ebay reveals it’s available from, ahem, the usual sources. [Update: It’s due a September 2005 release on DVD] And if you see only one film about a red-headed, hearse-driving demon-hunter this, or any year, Bloody Mallory should definitely be it.

Dir: Julien Magnat
Star: Olivia Bonamy, Jeffrey Ribier, Adrià Collado, Laurent Spielvogel

Chameleon 3: Dark Angel

  By

★★★★

chameleon3Part three is a return to form, despite a title which might now seem suspiciously unoriginal, at first glance on the video shelves. But it actually predates James Cameron’s series, leaving his genetically-altered, motorcycle-riding loner firmly in the position of late-comer. The mathematics for this one are harder to define, since the ideas on view are…well, if in light of the first two movies, I’m reluctant to claim originality, they are at least taken from less obvious sources. There is thus an “X” factor to take in account here, where X may or may not be genuine inventiveness.
(Chameleon / Kung-fu movies) + (Dirty Harry / 6)2 + Factor X

Note the semi-recursive nature of the formula, with one major element from the first film being rehashed, namely Kam’s acquisition of a child into her protective custody. Note also the plot inversion of many a kung-fu movie – these may be summarised as, “you killed my brother and you must pay!”, while here, it’s “you are my brother and you must pay!”. Yes, the chief threat here comes from Cain, another DNA-hybrid: wolf, bat, etc. though I’m unaware of any of them having the startling regenerative powers he has. Maybe the bat was part vampire, in which case Kam could always try decapitation and stuffing a holy wafer in his mouth, for nothing else – even impalement with a pipe – is a long-term solution. Time to call in Buffy, perhaps.

 A bunch of physicists, including teenage prodigy Tess (Teal Redmann – who, Chris points out, looks like a young Renee Zellwegger), are working on a sample of “dark matter”, when rudely interrupted by Cain. He makes off with it at the behest of his master (bald head, sneer and clearly planning towards Being John Malkovich) for the usual mercenary gain purposes. Unfortunately, the dark matter is unstable and Tess has to convince Kam that in 48 hours, the planet will be gurgling down a black hole like leftover soap-suds. So far, so ho-hum, but the only way to stop it is by exploding an electromagnetic pulse bomb – and the only person to have one powerful enough is a wheelchair-bound terrorist called The Mongoose. Will they find him in time?

I imagine no-one genuinely doubts the answer, but this adds a whole new plot twist, especially as the last time the Mongoose activated his weapon, its impact was pretty heavy. What happens when it’s used here is never really shown, and there is some scientific handwaving about the black hole absorbing all the energy, but it would be gratifying to think that it became necessary to destroy the city in order to save it. Not least because Cameron’s Dark Angel starts with a very similar premise.

Even if the heroine’s chameleon-like powers have been all but forgotten, this is the best entry in the series, with some great action, notably Kam’s single-handed demolition of the Mongoose’s gang – I saw this just after coming back from Jet Li’s Kiss of the Dragon, and it’s a battle which stands up well in comparison. Her ruthless brutality is also surprising and you can only sympathise with her handlers, futilely trying to keep her in check. She does what she want, when she wants, to whom she wants, and can only be applauded for it. The child actor here is also a great deal less annoying than first time around, an obvious relief to the viewer.

There, for the moment, the series rests. What lies in the future is hard to tell, but given the ongoing success of shows like Buffy, Xena and La Femme Nikita, it’d be a foolish man who would write off the chances of Chameleon finally making it onto the small screen.

Dir: John Lafia
Stars: Bobbie Phillips, Teal Redmann, Alex Kuzelicki, Doug Penty

Aliens

  By

★★★★★
“Queen of outer space”

Few sequels are as good as the original, never mind surpass it. The Godfather II. Evil Dead 2. Mad Max II. But perhaps the finest of them all is Aliens, which did something obvious with the premise, yet executed it with breathtaking audacity to make what remains, even almost two decades later, one of the finest          films of all-time.

Yep, a blank, which you can fill in a number of ways. Science-fiction, certainly; horror, too. But I personally rate Aliens as one of the finest action movies of all time – whether it beats Die Hard depends almost entirely on which one I’ve seen more recently – and if you were to argue that it’s a classic war movie too, you wouldn’t hear loud complaints from me.

For in many ways, this is a Vietnam allegory. A technologically superior, arrogant military force lands in foreign territory…and gets its butt kicked by a ferocious enemy with no moral qualms, while the non-combatants are happy to plot their demise in pursuit of some other cause. It is likely also significant that Cameron worked on First Blood, Part II, which is perhaps why some reviewers e.g. the Philadelphia Daily News, referred to Aliens as “Rambo in space”.

That over-simplifies thing enormously; the script here works on a far more efficient level, both emotionally and logically. The tricky question of how to get Ripley out to face the aliens once more is dealt with smoothly – she wants to go, in order to exorcise the ghosts of her first encounter. Physically, she may have won that battle, but mentally, she has to fight it again every time she goes to sleep, and it’s killing her, one nightmare at a time. The audience might not do the same thing, but they understand why she does it.

The story also gives Ripley another reason to fight, in the persona of Newt, a young girl found in the airducts of the otherwise inhospitable base – her survival for several weeks there surely has enough material for a movie by itself. This resonates with particular force in the director’s cut, which includes a scene where Ripley learns of her daughter’s death, turning Newt into a surrogate child. This makes the final face-off between Ripley and the alien queen into a conflict of mothers, both intent on defending their offspring at any cost, even their own lives. It’s a terrific concept, almost unique in the genre up to that point, and still rare even today.

The other issue was how to make the monster as terrifying as it was originally. This wasn’t the first time Cameron had been brought in to direct a genre sequel, though I suspect he might not thank me for mentioning Piranha II: Flying Killers in this context. But here, as there, he re-invented the basic concept, albeit in this case with a good deal more logic and coherence. If one alien is terrifying, how about a hundred?

alien4In addition, he imbued them with movement, something almost lacking first time round, where the monster lurked, came out, grabbed you, then vanished into the shadows again. Here, they’re in your face – or if not, are coming towards it at high speed. With cinematic smoke and mirrors, Cameron created the illusion of dozens of creatures, but in reality only had six actual suits – if you watch the film, you’ll never see more than this number of aliens in any shot.

It does take its own sweet time getting there, with the first adult alien not being seen until over 70 minutes into the extended version of the movie. You can certainly see why some cuts were made for the theatrical version, such as the discovery of the aliens by the colonists [though someone could do an Alien 1.5, covering the gap between that discovery and the arrival of the Marines here]. But the subsidiary characters are such great fun to be around, that this delay isn’t a chore. Hudson, Hicks, Vasquez (left – Jenette Goldstein is perhaps the best supporting action heroine in cinema history), Apone, and the rest of the marines are fabulous, entire personalities being generated in just a few words, and what could come off as unjustified arrogance is actually endearing.

Add in Paul Reiser’s corporate slime, Carter Burke, and Bishop the android (Henriksen), who confounds Ripley’s expectations of how an “artificial person” should act, and all of these help make Aliens one of the most eminently-quotable films of recent years. Let’s pause for a moment and enjoy, once again, some of those classic lines…

The Ten Best Aliens quotes

  • 10. Hudson: We’re on an express elevator to hell – going down!
  • 9. Ripley: These people are here to protect you. They’re soldiers.
    Newt: It won’t make any difference.
  • 8. Vasquez: Look, man! I only need to know one thing – where…they…are.
  • 7. Ripley: I say we take off and nuke the entire site from orbit. That’s the only way to be sure.
  • 6. Frost: What the hell are we supposed to use, man? Harsh language?
  • 5. Hudson: Hey, Vasquez – have you ever been mistaken for a man?
    Vasquez: No. Have you?
  • 4. Hudson: Is this going to be a standup fight, sir, or another bug-hunt?
  • 3. Newt: My mommy always said there were no monsters – no real ones – but there are.
  • 2. Hudson: That’s it, man – game over, man! Game over!
  • 1. Ripley: Get away from her, you bitch!

You can see why the Aliens patch for the computer-game, Doom, became an essential item. The two were made for each other, and I spent many hours, blasting away at face-huggers, warriors and queens with my pulse rifle, while samples such as the ones above, or accompanying this page, blared semi-randomly. Ah, happy days… Er, where was I?

On the action level, Aliens is almost flawless (I admit that a couple of effects shots during the descent haven’t stood the test of time). The first encounter between marines and the aliens in the film should be required viewing for every director interested in staging a scene more energetic than two people talking, shot in close-up. And from that point on, there’s hardly a slack second, as things go from bad to worse to this-place-is-going-to-explode-real-soon.

Ripley is more pro-active in this film than Alien, where she became the heroine almost by default, being the only person left. In the sequel, she is the first to realise that the search for the colonists has gone horribly wrong, and effectively hijacks the APC on a rescue mission. After that, she is no longer an outsider, whose opinion is an irrelevance to the professionals. She is the instigator, the innovator and also the anchor, who keeps despair from becoming as deadly an enemy as the aliens. And who can doubt her bravery when, with escape in her grasp, she turns and voluntarily goes back into the ticking nuclear-bomb of the base, in order to rescue a child she met only a few hours previously.

It’s moments like that which elevate Aliens to a special place in my heart, and the hearts of many – voters at the Internet Movie Database rank it in the top 100 films of all time. Regardless of any debate over the genre to which it belongs, this is a classic, make no mistake about it.

Dir: James Cameron
Star: Sigourney Weaver, Michael Biehn, Lance Henriksen, Bill Paxton

alien5

Heroic Trio

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★★★★★

I usually start watching this in a sense of disbelief, since it’s certainly not the most immediately convincing of movies. However, there’s a point near the middle which has in quick succession an amazing action sequence and two revelations, one touching, one tragic, and I realise that I am, yet again, utterly buying into the characters, storyline and setting. Disbelief simply ceases to be an option, and by the end, I know why this is among my all-time favourites, not just in the action heroine genre, but among all cinema.

While you can’t pin this down into any genre, it’s probably the intensity which carries the film. No-one does anything in half measures, be it love, hate, kidnap babies or eat their own severed fingers. The film captures the comic-book at its most primordial: good vs. evil, told in bold strokes and capital letters. SHAZAMM! “Evil”, in this case, is a demonic eunuch – looks male, sounds female – who is collecting baby boys whose horoscopes have them destined to be emperors, in order to rule and, er…the usual bad guy stuff. He is assisted by Invisible Girl (Yeoh), whom he has brainwashed into stealing an invisibility cloak from her inventor husband. It doesn’t work in sunlight, however, which is the only thing stopping our villain from executing his plan.

For the forces of good, we have Wonder Woman (Mui), a policeman’s wife with a secret identity, and Thief Catcher (Cheung), a bounty-huntress who gets involved after she accidentally kills a baby while trying to lure the kidnapper out. She and Invisible Girl were childhood pals, and also knows that the three must join forces to have a chance of stopping the Big Bad. The casting is perfect: Cheung the perky optimist, Yeoh the tormented control victim, and Mui the calm and quiet wife with a secret. [There are suggestions the three represent China, Hong Kong and Taiwan – which is which, I leave up to you] Credit is also due to the rest of the cast, notably Wong as the wordless evil henchman, with a taste for self-cannibalism, small birds and a fatal flying guillotine.

The action, choreographed by Chinese Ghost Story director Ching Siu-Tung is also spot on, though one suspect doubles were used for chunks. Particularly at the finale, there are times when the effects do over-reach themselves, and a little less ambition might have been wise. But the fact that everyone takes it completely seriously helps a great deal, though there are still question-marks over the plot: are the baby hostages safely rescued or not? At one point, Thief Catcher chucks a few sticks of dynamite into the villain’s nursery, saying the infants are hopelessly corrupt – not something you’ll see in any Hollywood movie! But at the end, the TV shows parents who look rather happier than you’d expect if they were being handed a plastic bag full of bits.

Still, it’s not often a film manages to run the entire gamut of emotions. Inside 87 minutes, you get laughter, tears, moments both “awww” and “eugh – gross!” (that’ll be Anthony Wong), thrills, chills and enough flamboyant style to power several graphic novels. It wasn’t that big a hit at home, taking less than HK$10 million at the box-office (in comparison, the biggest Hong Kong film of 1993, Stephen Chow’s Flirting Scholar, took over HK$40m), but its cult status in the West is entirely justified. Be sure to avoid the horrific dubbed version though – indeed, be sure to avoid the horrific trailer too.

Dir: Johnnie To
Stars: Maggie Cheung, Anita Mui, Michelle Yeoh, Anthony Wong

Ultraviolet

  By

★★★★½
“U’s the boss?”

By my reckoning, that’s now five straight big-budget action-heroine pics in a row not to be screened for critics: in addition to these two, add Domino, Aeon Flux and Bloodrayne. Yet this is, like the others, no real disaster: indeed, this is a luridly visual, CGI-overkill of a movie, which unfolds exactly like the comic-books used to striking effect in the opening credits, and wears its HK action (among other) influences on its sleeve.

Of course, it probably helps that we are big fans of Equilibrium, Wimmer’s previous SF-action flick, which achieved a cult following for its sleek style and innovative “gun kata”, a scientific martial-art designed to maximize both the efficiency and survival of its practitioners. Ultraviolet could be set in a parallel universe to that, where a disease has turned some of humankind into vampires, or “hemophages” as they’re called here. The rulers, led by Daxus (Chinlund), have developed a genocidal bioweapon, which Violet (Jovovich) has been tasked by her colleagues in the vampire resistance to steal or destroy. Only, to her shock, it turns out to be a child (Bright), which brings out her maternal instincts, even as both Daxus and her former allies now seek to destroy her.

As with Resident Evil, the main asset is Jovovich, who projects just the right mix of chic bad-ass – her belly-button gets so much screen time, it deserved its own credit – with wardrobe and hair changing colour in synch with her mood [and, I believe, it’s far more likely nanotech will be used for this kind of thing than, say, curing cancer] When her co-vampires prepare to take her on, pointing out they’re just as fast and strong as she is, her response is, “Yeah, but are you as pissed-off as I am?”. It’s hard to imagine any other actress who’d come out with such a cheesy line and get away with it.

Indeed, much of the film is similarly-targeted: her ability to drive her bike up and down the walls of skyscrapers is dismissed with a one-line reference to a “gravity leveller”. What? Exactly. This airy dismissal is the film’s way of telling you it isn’t going to bother explaining everything, and you’d better deal with it. In that way, it is perhaps more like Aeon Flux than Aeon Flux actually was, and the body-count is similarly hefty to the original MTV shorts. However, the PG-13 certificate leaves it all but bloodless, giving the battles about as much sense of danger as a video game. And, oddly, every shot of Jovovich appears to be in soft-focus, for no apparent reason.

Otherwise, however, the action is excellent, CGI enhancing the impact of the fights. There is a certain sameness, it must be admitted – Violet faces multiple opponents and kicks their arses from here to next week – but Wimmer takes this basic theme and runs enough variations on it that it doesn’t become boring. Visually, it is hard to work out where the sets stop and the plentiful effects work begins (to some extent, that’s true of the supporting cast as well, who don’t have really have much to do, and may be avatars). Either way, it looks fairly good, given the budget: as noted, it isn’t going for photorealism, though the motorcycle chase did look more like an Xbox game. But even little things like disposable mobile phones, indicate genuine thought has gone into the edges. Perhaps more so than the plot, truth be told.

However, if you’re looking for a cool, entertaining flick, this is the best action heroine to come down the pipe since…well, probably the last Milla Jovovich film. While studio interference may have hampered Wimmer’s creative vision (half an hour is rumoured to have been cut out – here’s hoping for an uncut DVD), it’s certainly not deserving of the 8% fresh score at rottentomatoes.com: as previously mentioned here, hell hath no fury like critics shorn of their free screenings. And in contrast, after 2200 ratings in the IMDB, 25.6% of voters gave it 8+ out of 10, so don’t just take my word for it. I’ll close with some comments from other, brave, reviewers who “got” it like I did – albeit partly to prove my enjoyment of this was not just a psychotic episode…

Peter Sobczynski: “The pretenders will bitch about ridiculous and over-the-top while decrying it as mind-numbing junk while the real film fans – those who realize that the line between trash and art is not as large or as distinct as some would have you think – will relish it for those very same qualities.” Kushmeer Farakhan: “Probably the first great Popcorn movie of the year. It’s not brainless and it’s not highbrow, it merely is what it is. A really fun action movie.” Brian Gallagher: “If you want some insanely innovative action, with a futuristic twist, Ultraviolet is right up your bullet-dodging alley.”

Dir: Kurt Wimmer
Stars: Milla Jovovich, Cameron Bright, Nick Chinlund, William Fichtner

"if you’re looking for a cool, entertaining flick, this is the best action heroine to come down the pipe since…well, probably the last Milla Jovovich film."

Thelma & Louise

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★★★★

“Two Bitches in a Car.”

But to quote one character in the movie, “Bitches from hell“… :-) Guess a spoiler alert is needed, though I suspect 90% of readers know how this ends. Better safe than sorry though. That said, it’s possible to pinpoint precisely the pivotal moment in Thelma and Louise. A thug is raping Thelma (Davis) in the parking lot of a bar. Louise (Sarandon) comes out, sees the assault, and puts a gun to the attacker’s head. The man freezes, and Thelma wriggles away. But when he tells Louise to “Suck my cock!”, she guns him down anyway.

It’s a shocking climax to a highly disturbing scene. Writer Callie Khouri made a very conscious decision for the ‘victim’ – quotes used advisedly – not to be a threat when he dies, and it leaves the viewer with really only two options. Lose empathy for a character capable of such a crime; or, somehow, accept that it’s okay to shoot someone for what they say. [Rumblings of a previous incident in Texas are hardly a defence] To reverse things, any movie where the hero gunned down a mouthy woman would not, I feel, get an Oscar for Best Original Script, or be described as “empowering”.

This is brave, but seems designed to fit her agenda better than the needs of the audience. Indeed, much the same could be said of the whole script, which can be summarised in four words: all men are bastards. The problem is, cliches are cliches, regardless of what sex they are. Every man is reduced to a crude stereotype – mostly petulant boys – even Harvey Keitel’s stoic cop (with an Arkansas accent this Brit knew was lame) demands T&L do things his way. On the other hand, the script goes out of its way to ensure every woman is portrayed sympathetically, down to the truckstop waitress.

It becomes like having Andrea Dworkin yelling in your face for two hours, yet the film’s moral is that if women empower themselves, death inevitably results. Khouri seems to be saying, “You can only beat the system by suicide,” while the patriarchy watches from behind its sunglasses and firearms. We win, guys – now, let’s go back to our Bud and football, while the little ladies make us dinner. With such confused writing, little wonder one studio executive’s opinion, as given to Ridley Scott, was the quote headlining this article. Khouri, meanwhile, largely vanished until 2002’s Divine Secrets of the Ya-Ya Sisterhood. However, if you need proof that a mediocre script can be salvaged by acting and directing, this is it. Between them, Davis, Sarandon and Scott (plus cinematographer Adrian Biddle) bring incredible depth to the characters and their story. No further proof is needed than to contemplate some of the other pairings who were mooted for the film: Jodie Foster and Michelle Pfeiffer or, god help us, Meryl Streep and Goldie Hawn.

I hadn’t seen this since its original release over a decade ago. At the time, I remember being more impressed by Davis’ performance; now, my opinion has changed, and Sarandon comes across better. This is partly because Thelma is such a dumb broad, who behaviour is initially more like that of a hormone-crazed teenager. Within hours of nearly being raped – hey, you go line-dancing, whaddya expect? – she’s virtually sliding off the car seat when she sees cowboy JD (Pitt, though the role almost went to another then-unknown: George Clooney). She knows he’s a criminal, yet leaves six grand on the bedside table for him to steal. Oops! Silly Thelma!

600full-thelma-and-louise-screenshotIt’s impossible to blame her for long, however, and the character development is fascinating. She starts the subordinate, but it’s Thelma who robs the convenience store to fund their journey to Mexico (a great place to escape male oppression…), locks a whimpering cop in the trunk of his car, and suggests they should die rather than tamely accept capture. While Louise initially seems to be the stronger, the cracks begin to show before long, not least in her near-hysterical refusal to enter Texas, regardless of the resulting detour.

These are two fabulous portrayals – unlike Khouri, fully deserving their Oscar nominations (the statue went to Jodie Foster for Silence of the Lambs) – which salvage potentially laughable moments with convincing emotion that blows away the script deficiencies. And in contrast to the grim ugliness of their predicament is the luminous postcard photography of mythic America, in the shape of oil-wells, ruler-straight roads, pylons and buttes, on their way to that quintessential American location, the Grand Canyon. [Actually Utah’s Deadhorse Point]

Certainly, it has to be considered one of the most important entries in the GWG genre, and despite its flaws, this film struck a chord which resonates even now. Perhaps its most powerful testament is a creepy little fact I found in Over the Edge: Death in the Grand Canyon [Ghigieri and Myers, Puma Press, 2001]. It has been possible to commit suicide by driving off the South Rim of the Grand Canyon for about eighty years. Almost one-third of all those who chose this method, did so in 1993, the year after Thelma and Louise came out on home video…

Dir: Ridley Scott
Star: Geena Davis, Susan Sarandon, Harvey Keitel, Brad Pitt