Classic Movie Review The Fifth Element

The Fifth Element (1997) 

Directed by Luc Besson

Written by Luc Besson, Robert Mark Kamen

Starring Bruce Willis, Milla Jovovich, Gary Oldman, Chris Tucker

Release Date May 7th, 1997 

I love the way Luc Besson views the universe. Besson sees the universe in bright bold colors. It’s the way I would like to view the universe. While my mind is often clouded by the often sad and tragic state of humanity, and especially man’s inhumanity to man, Besson manages to look beyond and see the beauty beyond our planet and into the stars.

The best example of how Luc Besson sees the universe, aside from his dazzling yet somewhat empty new film Valerian and the Planet of A Thousand Cities, is the 1997 film The Fifth Element, this week’s classic on the I Hate Critics movie review podcast.

The Fifth Element was well ahead of its time, a sci-fi movie filled with vibrant color, extraordinary costumes, and remarkable, often mind-blowing, special effects and production design.

If only that same vibrancy extended to the characters. You see, for as much as I am dazzled by the spectacle, the visual dynamism of Luc Besson and The Fifth Element, he’s not a director who is particularly interested in characters. Besson, though thoroughly detailed in costumes and set design and special effects, is not a director of actors.

Read my full length review at Geeks.Media 

Movie Review The Lost World Jurassic Park

The Lost World Jurassic Park (1997) 

Directed by Steven Spielberg 

Written by David Koepp 

Starring Jeff Goldblum, Julianne Moore, Vince Vaughn, Pete Postlethwaite 

Release Date May 23rd, 1997 

Published June 12th, 2023 

The Lost World Jurassic Park fails to recapture the magic and wonder of the original. Why? That kind of lightning in a bottle is simply hard to catch a second time. With no Sam Neil, no Laura Dern, and only Jeff Goldblum returning, The Lost World Jurassic Park felt mercenary and obligatory. Someone at the studio backed several brinks trucks worth of cash at Steven Spielberg's door, promised him he could make any movie he wanted, but only if he delivered another dino-blockbuster. Unlike the wide-eyed wonder of Jurassic Park, The Lost World Jurassic Park plays like a market tested blockbuster more interested in reaching four audience quadrants than satisfyingly entertaining the people who made up those quadrants. 

That said, this is Steven Spielberg so the movie isn't as bad as it could be. Spielberg is far too good of a director to make a genuinely bad film. Rather, this is the rare soulless Spielberg effort. It's a Spielberg movie where you can sense his heart isn't completely in it. There is a great visual gag in Jay and Silent Bob Strike Back where the titular heroes visit the set of a Scream sequel. There, we find director Wes Craven not paying attention to directing and instead counting his money and telling his actress, Shannen Doherty, to do whatever she wants. That's how I picture Spielberg except, instead of counting his money, he's paying for a different and far better movie to start production while he occasionally tells his actors to run. 

The Lost World Jurassic Park begins by telling us that billionaire John Hammond (Richard Attenborough) has learned nothing from his Jurassic Park experience. He has another island full of dinosaurs and sees them as his ticket to get his dream of Jurassic Park back on track. Hammond calls upon Dr. Ian Malcolm (Jeff Goldblum) to help him by going to this island and certifying that the dinosaurs are safe and accounted for on this new island. Dr. Malcolm refuses the lucrative offer until Hammond tells him that Malcolm's girlfriend, Dr. Sarah Harding (Julianne Moore), is already on the island. 

Malcolm takes the offer from Hammond but not to co-sign a new park. Malcolm is going to this new island on a rescue mission. Along for the ride are a guide, Eddie Carr (Richard Schiff) and a hotshot photographer, and greenpeace activist, Nick Van Owen (Vince Vaughn). Once on the island, they must try to find Sarah while also trying not to become dinner for the burgeoning new wildlife. Soon after this however, they will find themselves having to compete to save the dinosaurs from Hammond's idiot nephew, Peter Ludlow (Arliss Howard), and a big game hunter played by Pete Postelthwaite. 

The trailer back in 1997 carried a very big spoiler: The dinosaurs, at least one of them, the fearsome T-Rex, is coming to America. Commercials and trailers touted a dinosaur raging through city streets. This revealed further just how mercenary the whole effort was. The T-Rex doesn't arrive in America until the 3rd act and revealing that this dangerous dinosaur was going to rage through the streets of San Diego rather harms any chance of building tension and suspense as to where the movie was going to go. It's a great visual but spoiling it in the trailer made it very clear that The Lost World Jurassic Park was more of a marketing campaign than a movie. 

Read my full length review at Geeks.Media 

Movie Review Gravesend

Gravesend (1997) 

Directed by Salvatore Stabile

Written by Salvatore Stabile 

Starring Tony Tucci, Tom Malloy

Release Date January 1st, 1997

Published June 15th, 2003

There is a pretty terrific story behind the making of Gravesend, this is how it was told to me. It was written and Directed by then 19-year old Salvatore Stabile in 1997. Starring a few of his buddies from his old neighborhood, the film cost about $5,000 to make. Somehow it got into the hands of Oliver Stone who helped the film find a studio and get the film a more polished look without having to do reshoots.

The film made it to a small number of festivals and theaters and was reviewed by major critics across the country, though it went mostly unnoticed by mainstream moviegoers. The really odd thing though is that despite some good notice, Salvatore Stabile hasn't worked since according to IMDB.

Gravesend is a small community in Brooklyn, New York, a dead end where drugs and violence are the only distraction from poverty and depression. Our story begins with four friends sitting around in the basement, Zane (Tony Tucci), Mikey (Thomas Brandise), Chicken (Tom Malloy) and Ray (Michael Parducci). The house belongs to Ray's brother who wants the kids to leave because they are being to loud. Zane, being a belligerent prick, mouths off to Ray's brother who doesn't back down. Unfortunately, Zane has a gun that he didn't think was loaded until it went off and killed Ray's brother.

Now would be the time to sober up, call the police and tell the truth. Of course if they did that there wouldn't be a movie. So these four morons load the body in the trunk of Mikey's car and drive it over to a local junky that Zane says can help them dispose of the body quietly. But again it can't be that simple. The junky won't do it unless they give him five hundred dollars and the dead guy’s thumb.

From there, the guys have a number of close calls with cops and a tow truck driver, a couple fistfights, a robbery attempt and two more dead bodies. Along the way they trade some Tarentino inspired dialogue, and trade on a number of influences from Scorsese to Stone. Unfortunately the young director and cast are in way over their heads.

Rather than the strident confidence of the directors that provide the film’s inspiration, Gravesend is simply angry, childish and belligerent. The characters are so depressingly stupid they make the characters in Dumb and Dumberer look brilliant in comparison. It's not the situation that makes them stupid, it's the grunting caveman style of their actions. These characters disprove evolution with their stupidity, they preen and pose and fight like baboons.

That said, the young director who also narrates the film does have a nice visual approach to the film. His handheld camera is a little tiresome but it does lend itself to the out of control characters and narratives. By some miracle the film does develop a sort of narrative inertia that carries you to the end of the film, sort of like being stuck to something as it rolls down a hill that you can't stop.

That however doesn't excuse these horribly stupid and unlikable characters and a story that grows more and more ridiculous as it goes along. Still, this young director shows he has some talent. He shows that he could do some fine work in the future if circumstances come together right.

So what ever happened to Salvatore Stabile? He made Gravesend and hasn't done anything since. A Google search turns up a number of reviews of Gravesend but nothing about what he has done since the film was released some 6 years ago. It's anyone’s guess but I hope he gives directing another chance, just maybe leave the writing to someone else. 

Movie Review Eye of God

Eye of God (1997) 

Directed by Tim Blake Nelson

Written by Tim Blake Nelson

Starring Nick Stahl, Martha Plimpton, Kevin Anderson, Hal Holbrook, Richard Jenkins, Margo Martindale 

Release Date October 17th, 1997 

Published July 13th, 2003 

In his relatively short career as a director, Tim Blake Nelson has shown a fascination with tragedy. In The Grey Zone it was the horror of the Holocaust. In ”O” it was teen violence by way of Shakespeare. And in Nelson's very first feature, Eye of God, it was a town in Oklahoma that seemed bathed in tragedy from economic depression to domestic abuse to suicide. Made with the help of Robert Redford's Sundance Institute in 1997, Eye of God was the first indication that the actor had the eye of a director.

Set sometime in the 1980's Eye of God centers on the small town of Kingfish, Oklahoma. A town suffering though a major economic downturn that has people moving away at the rate of a family a week. Into this tragic situation comes a former convict, Jack Stillings (Kevin Anderson). He has come to Kingfish to meet his prison pen pal, a young waitress named Ainsley Dupree (Martha Plimpton). At first Ainsley has cold feet and thinks of leaving but Jack convinces her to stay and that night they have their first date.

Running parallel to Jack and Ainsley's story is that of Tom Spencer (Nick Stahl) who's mother committed suicide, leaving him with his overbearing Aunt and with thoughts of taking his own life. When Tom is found wandering along the side of the road covered in blood, it's obvious he has been involved in something awful. Unfortunately, a shell-shocked Tom is unable to speak and can't tell anyone what happened.

As we learn from a voiceover provided by Hal Holbrook, who also plays the sheriff of Kingfish, Jack and Ainsley's story is being recounted in flashback, while Tom's story takes place in the present. The film shifts backwards and forwards much like Brian Singer's Usual Suspects. The time shifts in Eye of God are signaled by overlapping sounds and static camera shots. The camera pans slowly away from the characters to some various image as another begins to speak or a phone rings or a door slams. It's not a new approach but for a first time director it was a challenging choice and one that Nelson carries off very well.

The script, also written by Nelson, is part mystery, part character study. Unfortunately, the mystery unravels well before the film is over. It becomes clear which character is guilty and that takes some of the punch out of the film’s ending. What the ending does have though is well-acted tragedy that Martha Plimpton and Nick Stahl really hit home. Stahl's final scene is a real heartbreaker and shows the potential that he is finally beginning to live up to some six years later. It's a wonder we don't see more of Martha Plimpton, who has always turns in an effective performance in whatever she is in, even the God awful 100 Cigarettes.

The film’s only real problem is it's leading man Kevin Anderson. A true straight to video legend, Anderson evinces an east coast attitude even as he's supposed to be playing a down home Midwesterner. His portrayal done with a hint of bad Midwest accent turn Jack into a redneck caricature, a hypocritical bible thumper who never for a moment fools the audience into sympathizing with him.

As artful as Eye of God is, it's not entertaining. It's just sad. I loved the performances by Stahl and Plimpton and Tim Blake Nelson's risky directing style. However, the film’s sadness is overwhelming. When the mystery falls apart just past the half way point, the audience is left with nothing but the tragedy. That and Anderson's performance keep Eye Of God from rising to the level of Nelson's follow up features “O” and The Grey Zone, but that is to be expected from a first feature.