Tag: TVM

Running Delilah

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★★
“Cast better than the material, in female version of Robocop.”

Agent Delilah (Cattrall) is undercover investigating arms dealer Alec Kasharian (Voyagis), and his connection to Palestinian terrorists [this was 1993, when people were concerned about such things]. At the behest of her handler Paul (Zane), she copies a floppy-disk containing vital information [I repeat, this was 1993, when an entire arms dealer’s business would apparently fit on a floppy!], but she’s discovered, shot multiple times, and left for dead. Paul drags her Swiss cheese-like body back to a secret government lab, where she is repaired, upgraded and generally enhanced in terms of speed, power and other abilities.

Initially, this is the subject of some emotional trauma, as she is understandably shocked to discover a Terminator arm where her own used to be. So she breaks out, roaming the streets, and proving to be a nasty surprise for sleazy low-lives. Though her creators probably need to work on the insulation thing, since her arm seems to short-circuit in the rain. That’s government work for you. Naturally, she eventually gets her act together, and the agency boss (Rigg) sends her and Paul out, to bring Kasharian to the justice he so richly deserves. This being a TV movie – or perhaps a pilot, it’s not clear – there are no prizes for guessing how this pans out.

And that’s the problem. No prizes, no surprises either, and precious little in the way of invention or inspired execution that could lift this up above the humdrum, with director Franklin (best known for Psycho II) unable to add enough impetus to proceedings. The only thing that redeems this are the decent performances from the leads, who manage to give this more impact than the material deserves – it was particularly cool to see Rigg, who played one of the prototypical action heroines. Emma Peel, in the mid-60’s. Any scenes that are memorable, such as Delilah shattering all the windows in a hotel, make absolutely no sense, and the parts that make sense, aren’t exactly memorable.

Dir: Richard Franklin
Star: Kim Cattrall, Billy Zane, Yorgo Voyagis, Diana Rigg

Taking the Heat

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★★½
“Because the more accurate, Taking the Luke-warm, wouldn’t exactly fly off the shelves.”

Michael Norell (Goldwyn) sees mob boss Tommy Canard (Arkin) whacking a debtor, but won’t admit it to the cops. However, when they look at the credit-card transactions, the truth comes out and Detective Hunter (Whitfield) is sent to retrieve the witness; Canard, thanks to a mole, also finds out and send his top hitman to ensure Norell never reaches the courthouse. A heatwave has simultaneously hit New York, leading to blackouts, gridlock and a breakdown in communications, so it’s down to Detective Hunter, back on her old stomping ground, to negotiate her way through the traffic jams and dodge the killers out to get Norell.

The IMDB states this 1993 film is a TV movie. Some language and one brief nude scene seem to argue against that, but with some minor trims, it could certainly play on television, and there are some aspects, such as the Patrick Williams original score, which appear straight out of TV-land. The story is hardly novel – Midnight Run is perhaps the best-known example of the ‘Protect the irritating witness’ thriller, and if you’re looking for a distaff version, In the Line of Duty IV has more martial-arts, courtesy of Cynthia Khan and Donnie Yen, than you could possible want. This isn’t up to the level of either of these, and barely scrapes by as an acceptable way to waste ninety minutes on a wet weekend.

The film does occasionally get away from the pedestrian, but the potential inherent in the scenario, as the city swelters and boils in the heat, turning into an urban jungle, is largely wasted. There are some moments which work quite nicely, such as Hunter and Norell picking their way through a booby-trapped drug den, but it’s largely predictable stuff, with the heroine and her charge initially bickering like cats and dogs, then – over the course of a mere few hours – falling for each other. For most of this, I couldn’t help thinking, Whitfield is no Pam Grier – though in her defense, few people are, and she does well enough, I suppose. If there’s nothing else on TV, it’ll do.

Dir: Tom Mankiewicz
Star: Tony Goldwyn, Lynn Whitfield, Alex Carter, Alan Arkin

La Femme Musketeer

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★★★
“The Four Musketeers: The Next Generation.”

While not the first film to give D’Artagnan a daughter – the fairly self-explanatory D’Artagnan’s Daughter got there a decade before, with Sophie Marceau in the role – this is still entertaining enough, though at 171 minutes, probably too long. Valentine (Amy) heads to Paris to join the King’s guards, only to find herself framed for murder after coming into possession of a letter that could bring down the monarch. Fortunately, the other Musketeers also had children who followed in their father’s footsteps, so she has help as she tries to thwart the evil plans of Cardinal Mazarin (Depardieu) and his henchman Villeroi (Pirae).

If its origins as a two-part TVM are largely apparent, there’s enough fun to be mined from the experience here to keep things going, not least Michael York reprising the role of D’Artagnan, which he played in the 70’s classic movies. Their offspring are similarly nicely-drawn caricatures, and Amy has a feisty quality about her that’s fitting, though quite how she is mistaken for a man escapes me. The film does try to do too much, plotwise; believing the letter isn’t enough to sustain it, the script also throws in a Spanish princess, travelling to Paris to meet with King Louis, and perhaps stop the war between the two countries. This requires much searching of the French countryside [actually, Croatia] and drags things out to no great purpose. On the other hand, the lack of any serious romance to bog things down any further, came as a pleasant surprise.

Amy holds her own in the swordfights, even if Boyum is overly fond of playing with the film speed, and often needs to move the camera back a bit further. We were looking forward to a nice catfight between her and Nastassja Kinski, who plays another one of Mazarin’s minions, with a nice line in poisoned hatpins. Don’t get your hopes up; instead, the climax pits Valentine against Villeroi. The accents on display are also all over the place: Depardieu is the only one who sounds French, obviously – except, his character is actually Italian! If you can cope with that, and the inherently nonsensical nature of the central concept, you should be okay with this.

Dir: Steve Boyum
Star: Susie Amy, Marcus Jean Pirae, Gérard Depardieu, Casper Zafer

Princess of Thieves

  By

★★
“The Middle Ages – sanitized, for your protection.”

Back before Pirates of the Caribbean made Knightley a household name, and even before Bend It Like Beckham made her an obscure name, as a fifteen-year old she shot this Disney TVM, which rewrites history wholesale from the very start. It begins in 1184, claiming this is the reign of Richard the Lionheart – this must come as a surprise to Henry II, since he didn’t die until 1189. It also introduces Philip, Richard’s supposed illegitimate son, out to replace the evil King John; in reality, Philip may not have existed and certainly left no mark on history. However, the film needs a romantic lead, so there you go. Of course, the whole Robin Hood mythology is more a block of clay, that writers and film-makers have seen fit to mould as they wish.

Here, when Robin is arrested trying to link up with Philip (Moyer), it’s his daughter, Gwyn (Knightley), who puts together her own band of merry men, with the aim of both rescuing her father and putting Philip in his rightful place on the throne. Archery contests and the Sheriff of Nottingham (McDowell) ensue, until Philip, under an assumed name, joins her posse, and the inevitable romantic attraction begins. This is much to the chagrin of Froderick (Synnott), Gwyn’s longtime companion from when she grew up in a monastery [her dad being off crusading with Dick]. However, since he has a crap haircut, it’s clear Frodork doesn’t have a chance with the perfectly-complexioned Gywn and her immaculate teeth.

It is largely bland, unthreatening and unsatisfying, yet not entirely unwatchable. Knightley – only 15 when she made it – clearly has star potential, and her archery experience must have come in handy for her later role in King Arthur. Early on, there is an almost Mulan-like feel, with Gwyn defying her father and dressing as a boy. However, the more the film proceeds, the more she is shuffled off to the side in favor of Philip, who is much less interesting a character, especially from this site’s point of view. McDowell is as reliably evil as ever, while Jonathan Hyde does his best Alan Rickman impression as King John, yet, inevitably, comes off as a poor imitation. If this isn’t worth paying money for, as a Saturday afternoon diversion on TV, it’s tolerable.

Dir: Peter Hewitt
Star: Keira Knightley, Stephen Moyer, Malcolm McDowell, Del Synnott

Nightmare at Bitter Creek

  By

★★
“Made for television, and no better than you’d expect from that.”

Nita Daniels (Wagner) and her three girlfriends take a horseback trip up the mountain, expecting to meet their husbands at the top. However, the trip becomes a nightmare, as four members of the ‘Aryan Survivalist Brigade’ are holed up there, and decide to take out the women and their alcoholic guide, Ding (Skerritt). Initially, Ding takes the fore, but when he is injured it’s up to Nita and her pals to fight back. This TVM struggles, largely because of the lack of justification for the white supremacists: the entire party they attack are about as Aryan as they come, so why, exactly, should they be targeted for elimination? It would have been far more plausible had the party been ethnically-mixed, or even their guide been black – or, heck, Jewish.

Instead, the threat here is…well, a bit crap, really. They’re all but entirely faceless, clearly no good at marksmanship, and even the biggest of them is no match for a hungover Ding. Understandable, the TV-movie limitations restrict how “nasty” they could be shown, but there’s no sense of threat. It probably doesn’t help that the best actor in the film is Buster the dog, probably because his motivations are the most clear. The four women rarely get beyond the most shallow of caricatures, without any background to make you care for them – but I must admit, things do pick up significantly in the last twenty minutes, as the heroines find themselves trapped in a canyon, and Allison (Cassidy) needs to grow a spine if she’s to save her friends.

It’s not a terrible concept; this just needs to be executed with more conviction, and the medium of the television movie is probably not the right one for the story. That doesn’t permit the necessary level of dread, which would be something no TV company would want to show, especially back in 1988, when this was made. Finally, a small note on truth in advertising. Of all the facets depicted on the sleeve (right), there are certainly no bears and no lynchings. Nor is there any mention of the Confederacy or the Ku Klux Klan. Skerritt and Wagner, I will give you, but I’m not quite sure what the middle image on the right is supposed to depict.

Dir: Tim Burstall
Stars: Lindsay Wagner, Tom Skerritt, Constance McCashin, Joanna Cassidy

Wendy Wu: Homecoming Warrior

  By

★★★
“Into every third generation, a slay..ah, warrior is born.”

It’s kinda sad to say, but the action in this Disney TV movie kicks the ass of, not only most TV shows, but a credible number of Hollywood films. Then again, behind the fights here is Koichi Sakamoto, who is also responsible for Drive, among the best American martial-arts films of all time. And while obviously “Disneyfied”, this is still sprightly and engaging, with a couple of very decent fight sequences. It is, however, extremely influenced by Buffy: an unwilling heroine (Song) destined to face down evil on the night of a major school event, under the care and tuition of a mysterious guardian? Joss Whedon should have a word with his lawyers. However, the Chinese cultural twist is nice, not least the Shaolin Soccer riffs, though neither lead actually is Chinese.

This does pose problems, the film trying hard to be culturally “sensitive”; Wendy struggles between wanting to be a “normal” American girl, and her Chinese heritage. This is clunkily handled and does drag the middle of the film down, as the whole Homecoming Queen plot-thread is simply not very interesting, and adds nothing of significance to the film. Things do perk up again, when her teachers get taken over by monk spirits, to assist with her training. It then heads to the finale in a deserted museum where Wendy and her “watcher”, Shen (Koyamada), must face an possessed-schoolmate and a host of terracotta warriors. I stumbled on this by accident, in an advert break during a baseball game on a neighbouring channel, and enjoyed it, despite being about three times the target audience’s age. Some more action would certainly have been preferred, but between this and Kim Possible, Disney have as good a claim to being the home of action heroine TV as any channel.

Dir: John Laing
Stars: Brenda Song, Shin Koyamada, Justin Chon, Andy Fischer-Price

Painkiller Jane (pilot)

  By

★★
“It’ll probably be the audience who need the painkillers to get through this tedious tale.”

This SciFi Channel original movie is based on a comic-book series, but makes some radical changes to the storyline, though the basic idea is intact: a woman becomes immune to injury after the usual mysterious something happens to her [radioactive spider bite, barrel of toxic waste – the usual graphic novel contrivances, in other words]. In the comic, she was an undercover cop; here, she is a Special Forces soldier in Chechnya who is exposed to an experimental biological agent. Naturally, she subsequently finds herself much sought after, by both good and bad factions, since she’s the first to survive the treatment.

And initially, this isn’t so bad, as she escapes from the military, encounters a gentlemen thief and his posse of sidekicks, and tries to get all her mental ducks in a row, so she knows who to trust. As a set-up, it’s fine, with its share of paranoia. However, the longer this goes on, the less interesting it gets: you’d think having a heroine who is virtually immortal, would lead to almost non-stop mayhem. Not here. The action here is very limited and when it does appear, is simply boring – unfortunately, there’s no other word for it.

Now, I know this was intended as much as a pilot for a project TV series as anything, and they have to keep their powder dry for future episodes. But unlike, say, Chameleon, there’s precious little here to make me want to watch, should they decide to bring it back. Indeed, I fell asleep as the “gripping” scene at a shopping mall unfolded. For any action film, that’s about the kiss of death, and while the performances aren’t bad – Vaugier as our heroine has a nice attitude that reminded me of Yancy Butler in Witchblade – there wasn’t nearly enough meat on these bones to satisfy me…

Dir: Sanford Bookstaver
Star: Emmanuelle Vaugier, Tate Donovan, Richard Roundtree, Eric Dane

The Last Man on Planet Earth

  By

★★★½
“After World War III, there will be no more long queues for the restroom.”

You’ve got to admire any film – particularly a TV movie – that provokes diverse reviews. This, then, not only “was obviously written and made to appeal to a lesbian slumber party,” it’s also a “manifestation of heterosexual panic.” Such even-handedness can only be applauded. Of course, as usual, the truth falls somewhere in the middle. After an errant bioweapon kills almost all the male population off during WW3, the survivors decide that for humanity to survive, the “man” must be taken out, and use cloning techniques to end male childbirth. However, renegade scientist Hope Chase (Bowen) creates one (Francis) without those nasty violent tendencies. But when he escapes and finds his way to Washington, the authorities, led by FBI Agent Hastings (Tomita), are ordered to hunt him down, as a threat to the new world order.

There are some painful clunkers here: calling the man “Adam”, dodgy model FX, and an ending that, far from the “shocking climax” promised by the sleeve, was correctly (and in detail!) guessed by Chris with half an hour to go. It would also benefit from more thought beyond the obvious: what about Earth outside the US? And what would such a world really be like? [Here, it’s almost unchanged – I suspect for budgetary reasons] But if it only has half a brain, that’s still more than most TVMs manage, and bonus points are due for predicting both terrorism on American soil and war in Afghanistan – and this back in 1999, when most people thought Al Qaeda was the guy running the local 7-11.

Tamlyn Tomita comes out best as the FBI agent; she gets nice lines like, “I bet you’re one of those closet heteros, aren’t you?” and manages to avoid the usual stereotypes – or, at least, twist them in interesting ways. Bowen is less effective, but DeYoung is entertaining as the scruffy rebel, ranting against the “Lesbian Conspiracy” that has sent the male sex packing. Overall, this isn’t great SF, or great TV, but it’s edgier than I expected – and as the opening reviews suggest, is likely to peeve both the politically correct and incorrect about equally.

Dir: Les Landau
Star: Julie Bowen, Paul Francis, Tamlyn Tomita, Cliff DeYoung

Legion

  By

★★
“Cheap TVM offers up its secrets before you even see it. Take them.”

Do not read the sleeve before watching this; idiotically, it gives away the whole thing, including stuff revealed in the last ten minutes. Also: yes, it is the Rick Springfield: Jesse’s Girl, Human Touch, and…er, that’s about it, in the most unexpected reappearance of an 80’s pop icon since a bloke from Bros turned up in Blade II. With these issues out of the way, the movie itself is set in the future, after six years of a war has led to stalemate. Agatha Doyle (Ferrell) leads a Dirty Dozen-ish group of criminal soldiers with nothing to lose on a mission to capture an enemy base. That part’s easy, as there’s no-one around – except for a pile of corpses. However, while they wait for reinforcements, someone/thing starts ripping our her troops’ throats.

Y’know, I always thought “legion” meant more than one. Not in this, which looks as if it were made for the Sci-Fi channel; just the one enemy, and most of the time all you see is his POV, looking like that of the raptors in Pitch Black. There’s much wandering around corridors, as numbers get whittled down to the inevitable survivors (identities also given away by the sleeve). It’s a minor shame, as the team are an amusing bunch of cliches, led by Corey Feldman as a computer hacker; the doctor (Audie England) was also entertaining, with loony lines such as, “The Angel of Death is my superior officer.” Otherwise, this gets less entertaining as it goes on, and while Farrell makes a good first impression, she’s swiftly reduced to bickering with her (steadily declining) force. On the whole, best cancel my first statement in this review: read the sleeve, and save yourself 95 minutes.

Dir: Jon Hess
Star: Terry Farrell, Parker Stevenson, Corey Feldman, Rick Springfield

Joan of Arc (1999)

  By

★★★★

joanofarcOne problem with history is that viewers likely know how it ends: if you want to surprise them, why bother making a historical drama? Joan of Arc knows this, so starts with her burning at the stake. It’s a bit of a double-edged sword: it robs the climax of its striking power, yet acknowledges without doubt, that this is a tragedy. The theme of manipulation is again strong here, with Joan discarded after having outlived her usefulness, despite an odd character change in the second half, where she drifts for a jarring moment into petulant bitch mode. It’s almost as if the makers hinted at a megalomaniacal side, crazed by power, and her fatalistic approach to her capture rings false – probably because it is nowhere near the truth. There’s more fabrication early on, with Joan an unwanted daughter who sees a friend (blind, no less) killed by enemy soldiers – must she always be some kind of post-traumatic stress survivor?

Once it hits its stride, however, there is rarely a wrong step, at least dramatically speaking – the French king again comes off as far more implicated in Joan’s death than evidence suggests. Neil Patrick Harris is convincing as Charles, who moves from self-doubt to certainty in his divine right to be king, then on to using that power against the one who put him there. Peter O’Toole too turns in a fine performance as Bishop Cauchon, though more facts are tampered with, allowing him to act as Charles’ spiritual advisor when he was actually always on the English/Burgundian side. That it’s a TV miniseries is apparent, with 15th century France populated by remarkably clear-skinned and straight-teethed people. There’s even hints of romance between Joan and her companion, Jean de Metz, which serves little purpose. The battle scenes, too, are all but bloodless – I wasn’t expecting the decapitations and arterial spurting seen in Besson’s film, but I didn’t really want the Middle Ages, sanitized for my protection. Even the guy dying of plague looks pretty good. [Chris noted a glaring continuity error at the end: on her way up to the stake, Joan is wearing shoes, but by the time she gets there, she’s barefoot!]

However, the main difference between this and The Messenger is that Joan of Arc is convincing. Perhaps with the advantage of having extra time (the DVD of the miniseries runs 189 minutes), they make the effort to show her interacting with other characters, and Sobieski’s calm, complete assurance is a striking contrast to Jovovich. The viewer can see why people would believe her, and it naturally follows they will too – Sobieski’s Emmy nomination was entirely well-deserved. Despite playing fast and loose with the facts (another example: Joan’s brother was not killed in battle, but lived to see her trial verdict overturned), this strong central performance holds the film together and, with the aid of the other fine actors, makes it eminently watchable. It may not be historically accurate, but it does a fine job of explaining why her myth is still honoured in the third millennium, without coming down in one camp or the other regarding the source of her visions. There are few TV miniseries worth watching, and fewer still worth owning, but this one comes highly recommended.

Dir: Christian Duguay
Star: Leelee Sobieski, Neil Patrick Harris, Peter O’Toole, Chad Willett