Classic Movie Review Manhunter

Manhunter (1986) 

Directed by Michael Mann

Written by Michael Mann

Starring William Peterson, Dennis Farina, Brian Cox, Kim Greist, Joan Allen 

Release Date August 15th, 1986 

Published July 16th, 2024 

The visual simplicity of the opening images of Michael Mann's Manhunter are sublime. We open on a flashlight falling upon a flight of stairs. It's pitch black other than the flashlight. This could be a home invader or an investigator at this point. Toys are strewn across the stairs in the haphazard way that young children carelessly like to play. The visual signs of life in a typical American home are all present. As the person with the flashlight climbs the stairs, it's light falling on more signifiers of life, we arrive at the top of the stairs. The flashlight pans into what appears to a be a child's room, seemingly empty. 

A few steps further and we arrive in a bedroom where we see our first evidence of people. A woman and a man are in bed and for a moment, it's not clear if they are alive or dead. The flashlight begins to hold steady on the woman who finally moves to signify that she's alive. The flashlight, now unmoving, continues to hold on the woman as it becomes clear that she's waking up. The fog of sleep still in her mind she finally begins to rise and just as she might be about to react to the sight of a stranger with a flashlight, we cut to the opening title of the film, Manhunter. 

The clear indication is that this person with a flashlight is about to commit a horrific murder. That Michael Mann uses a signifier as simple as a flashlight to toy with us, to give us hope that perhaps we are arriving at an investigation and not an invasion is part of the building tension, the rising suspense. The way the flashlight falls on the woman in bed and holds on her becomes the unsettling implication of a terrible crime about to be committed. Mann's direction is simple, the visual storytelling is electrifying and yet it's still just a person with a flashlight and visual context. That's pure film language. 

Over the years, Michael Mann will come to be associated with a style that is more bombastic and far less subtle. No less skilled or polished, but somehow more modern and garish for having a bigger budget, bigger stars, and bigger ambition. I'm not the biggest fan of Michael Mann's blockbuster era. I don't love the kinetic, overwrought style of Heat. I genuinely believe his movie Blackhat is one of the worst blockbusters of the last 10 years, but I still respect Michael Mann. I know that at any moment, Mann can still do what he did in Manhunter and blow my mind with his simple, straight-forward grasp of the language of film. 

Read my full length review in the Geeks Community on Vocal. 

Movie Review: Death Race

Death Race (2008) 

Directed by Paul W.S Anderson 

Written by Paul W.S Anderson 

Starring Jason Statham, Joan Allen, Tyrese Gibson, Ian McShane

Release Date August 22nd, 2008

Published August 22nd, 2008

The description of Roger Corman's 1975 cult classic reads like a description of the latest Grand Theft Auto-style videogame. Racing across the country in souped up death cars, drivers in the death race get points not merely for winning but for killing opponents and pedestrians alike. Points are assigned for killing particular types of pedestrians such as old people or children.

A controversial premise back in 1975 becomes something only eye brow raising today thanks to the rise of the first person killer videogame. Why then did writer-director Paul W.S Anderson abandon the gimmick for his modern Death Race remake? Who knows.

In the new Death Race Jason Statham stars as Jensen Aimes, a former Nascar driver convicted of murdering his wife. The reality is that Aimes was framed for his wife's murder by Hennessey (Joan Allen) who needed him in her prison to drive in the ratings champion Death Race. Her former top draw Frankenstein has died and ratings have been dropping ever since.

However, after hiding Frank's death from the public and helped by the fact that he wore a mask, Hennessey plans on subbing Jensen for for Frank. The Death Race features some of the most violent and disturbed men in the world including the multiple murder convict Machine Gun Joe (Tyrese Gibson) and the man who actually killed Aimes' wife, Ulrich (Jason Clarke), driving cars equipped with weapons. The goal, win the race and kill your fellow racers. Win five races in a row and you win your freedom.

The plot construct of Paul W.S Anderson drives wildly off course from the Corman original. The future setting of this death race for some reason includes giant prison colonies, corporate run prisons and other such unnecessary nonsense. The race itself is an whole other kind of nonsense. It's called Death Race yet racers have survived race after race so well that each of the 8 to 10 racers has their own history and fanbase.

Then Jensen joins and suddenly racers are dying left and right. Half way through this death race Hennessy introduces a new danger, a giant truck filled with her henchman that begins killing racers. She seems to have instructed it to kill everyone but then there wouldn't be any more death racers and their is half a race left?

Now, I realize I am injected logic where none is welcome, this is after all a supremely dumb action flick and not some high minded drama. But, when the action is as lame as that of Death Race, I am left only to my logical mind to survive such tripe. Pulling apart the ludicrous nature of Paul W.S Anderson's script just gives me something to do while I wait for the movie to be over.

Aside from his good work in The Bank Job, Jason Statham's act has gotten supremely tired. The Transporter movies, Crank, War, Statham is playing the same character over and over and over again, varying only the character name. Sure, sometimes, as in War, he speaks with a slightly more clipped pace, but otherwise it's no different.

His Jensen Aimes is merely his Transporter sent to prison. Writers and directors may as well start naming his character Jason Statham just to make things as simple as possible for the action star. Even the sense of humor he developed working with pal Guy Richie on Lock Stock and Two Smoking Barrels and Snatch has devolved into a tired, unfunny, deadpan.

Death Race never set out to be anything more than a cheap, second rate, z-movie. Roger Corman was even kind enough to add his imprimatur just to make sure you didn't expect to much quality from this enterprise. But, most of the credit for the crappiness of Death Race falls on Paul W.S Anderson who adds to his resume of debacles from Resident Evil to Alien Vs Predator, another stupidly violent, mind numbingly idiotic, action flick.

Movie Review: Bourne Ultimatum

The Bourne Ultimatum (2007)

Directed by Paul Greengrass

Written by Tony Gilroy, Scott Z. Burns, George Nolfi

Starring Matt Damon, Julia Stiles, David Straithairn, Scott Glenn, Albert Finney, Joan Allen

Release Date August 3rd, 2007 

Published August 3rd, 2007

Though Daniel Craig has brought some of the cool back to the James Bond franchise, most I'm sure will agree that the spy franchise of this decade is not Bond but Bourne, Jason Bourne. The Bourne Identity, Bourne Supremacy and now Bourne Ultimatum are pulse pounding, non-stop thrill rides where big time action meets grand drama and suspense to create a near masterpiece of genre fiction.

When last we left Jason Bourne he was getting revenge for the murder of his girlfriend and just beginning his determined search for his past. Now in Bourne Ultimatum, Jason is after his past again. He wants desperately to know how he became a globetrotting assassin, who he killed, why did he kill them and who told him to do it.

What this information will do for him is Jason Bourne's private business. Matt Damon and his poker face keep things close to the vest. That is fine with us in the audience because plot is not the point of the Bourne movies. Like Bourne Identity and Bourne Supremacy before it, The Bourne Ultimatum is about non-stop propulsive action of the most skilled and determined kind.

Director Paul Greengrass is a master of the big action scene; as he demonstrated with the jaw dropping Russian car chase scene in Bourne Supremacy. In Bourne Ultimatum, Greengrass tops himself with a fight scene set in the row houses of Tangiers that must be seen to be believed. The fight between Bourne and a man sent to kill him is so fast paced, up close and quickly cut that audience members will feel as if they need to duck some of the punches that fly.

As the first two films have been set apart by exceptional car chases, The Bourne Ultimatum too has a killer car chase. Set on the streets of New York this tightly paced, high speed ride has our hero driving a stolen police cruiser chased by CIA spooks and one determined assassin who is the last line of defense between Bourne and his past. How this scene plays out is a perfect microcosm of the complex action of this terrific film series.

As Bond has had some memorable villains, Jason Bourne can lay claim to some of the finest character actors ever in the business as his top adversaries. In Bourne Identity it was Oscar nominee Chris Cooper and Brian Cox as Bourne's former controllers turned pursuers. In Bourne Supremacy Oscar nominee Joan Allen joined the returning Cox as CIA Bourne chasers.

Now in Bourne Ultimatum add two more Oscar nominees to the list. David Straithairn plays the head of CIA black ops who hopes to keep Jason Bourne from exposing some of the illegal activities of his clandestine enclave of the CIA. Also joining team Bourne in Bourne Ultimatum is Oscar nominee Sir Albert Finney as a man with up close and personal knowlege of Jason Bourne's true identity.

With a cast like this; story depth is built into the margins; freeing director Paul Greengrass, himself a recent Oscar nominee for United 93, to focus on making the action kick as much ass as possible. He satisfies action fans with some serious ass kicking, car chases and edge of your seat suspense of the kind that sets the Bourne franchise apart from other classic franchises.

Matt Damon has been adamant that The Bourne Ultimatum will be his last Bourne film. Whether the franchise will continue without its star seems without question. What a shame that will be. Damon is Jason Bourne and it's unlikely any other actor can bring the same fierce intensity and integrity to this role that Damon has. Like Connery with the original Bond or Michael Keaton's Batman, Damon's Jason Bourne is definitive.

The Bourne series will not be the same without him. For now at least, bask in the action glory that is The Bourne Ultimatum, the perfect kickass coda for one of the best action franchises of all time.

Movie Review The Bourne Supremacy

The Bourne Supremacy (2004) 

Directed by Paul Greengrass

Written by Tony Gilroy

Starring Matt Damon, Brian Cox, Franke Potente, Julia Stiles, Karl Urban, Joan Allen 

Release Date July 23rd, 2004 

Published July 22nd, 2004 

What I have always loved about action movies, or more specifically spy movies, is the idea that while we live our everyday mundane lives, secret forces are out there creating and covering up chaos. Just think of all those times the world has been in peril or (at least the lives of normal civilians like ourselves) and we have never known it. 

We have wandered into city squares unaware that they are teeming with secret agents and surrounded by SWAT team snipers. What about all of those times you have been cut off by some nut in traffic unaware that he is fleeing for his life with the fate of the nation hanging in the balance.  The Bourne Supremacy doesn’t get caught up with saving the world but it does have a few of those moments where everyday civilians unknowingly cross paths with danger -- all of it cleverly staged and playing into a smart, action-packed plot, heavy on spycraft and low on dialogue. 

Matt Damon returns as Jason Bourne the amnesiac hero of 2002’s The Bourne Identity. As we rejoin Jason Bourne, he is hiding out in India with his on the lam girlfriend Marie (Franke Potente) whom he kidnapped and fell in love with in the first film. The couple has an idyllic life of leisure aside from Jason’s occasional flashes of memories that he can’t fully recover. Jason knows he did something horrible but can’t remember what it is.

Not surprisingly, his memory will become important as Jason is drawn back into the spy game by the arrival of an assassin (Karl Urban) who has just framed Jason for murder in Munich, Germany, and has now come to India to tie up his loose ends. Jason doesn’t know about the Munich setup; he assumes the CIA has resumed pursuit of him despite his warning of reprisal.

Joan Allen is Pamela Landy, CIA field director, who stumbles on to Bourne through the assassin’s setup in Munich. Landy was in Munich when two of her CIA squad were killed and the evidence points to Bourne. Searching for Bourne leads her to Bourne’s former boss Ward Abbott (Brian Cox) who has something big to hide. Whether it’s criminal or merely a CIA operation is one of many tantalizing mysteries. From the outset, the only character to trust is Bourne; everyone else is suspect. 

Director Paul Greengrass’s previous film was the visceral pseudo-documentary Bloody Sunday about terrorist strife in Ireland. That film employed a grainy look that dated the film to its 1980s setting. There is no need for such tricks in this film but that does not preclude Greengrass from being innovative with the film’s look. Its color palette, sun-soaked yellows in India, subtle grays and cold exteriors in Europe follow closely the film’s tone. 

The action scenes are where The Bourne Supremacy sets itself apart from other action movies. Especially good is a hand-to-hand fight scene that Greengrass shot with a handheld camera that follows the action much like Michael Mann’s camera in the boxing ring in Ali, the difference being that Mann shot that on Digital and Greengrass does this on film. 

The Bourne Supremacy also has one of the best chase scenes ever. This is on par with John Frankenheimer’s Ronin and William Friedkin’s The French Connection, with Bourne chased by Urban’s unknown assassin and a number of Russian police. Bourne is driving with one arm after being shot and while being chased he must stop the bleeding. And did I mention the car is a stick shift.

The most essential element of The Bourne Supremacy is the performance of Damon. This film, like its progenitor, turns on whether or not Damon is a believable action hero and once again Damon is a revelation. Damon brings an actor’s chops to a role that most actors throw away, hoping the special effects will carry them. He has the serious manner of Tom Cruise in Mission: Impossible but with a grittier, more realistic approach.

Though I would like stronger dialogue and the plot could stand to be a little more fleshed out, there is very little to complain about. Screenwriter Tony Gilroy has an efficient writing style reminiscent of David Mamet’s Spartan but with less wit and far fewer four-letter words. It resembles Mamet in efficiency, if not wordiness, both films don't writers are not wasting time. 

The Bourne Supremacy, like The Bourne Identity, is based on a novel by the late Robert Ludlum who has many more Bourne thrillers already on bookshelves guaranteeing more of this smart, efficient spy thriller. Hopefully the next film is as kinetic and inventive as The Bourne Supremacy is; a terrific summer action movie.

Movie Review: The Notebook

The Notebook (2004) 

Directed by Nick Cassavetes 

Written by Jeremy Leven 

Starring Ryan Gosling, Rachel McAdams, James Garner, Gena Rowlands, James Marsden, Joan Allen 

Release Date June 25th, 2004 

Published June 24th, 2004 

There is a terrific line in the movie High Fidelity where John Cusack sums up his short-term romance with Lily Taylor. "You have to be of a certain disposition to believe you’re going to be alone for the rest of your life at 26. We were of that disposition.” I too am of that disposition. At 28 years old I am single, really unattached single for the first time in a very long while. I have had steady relationships since I was 14 year old. Don't worry I'm going somewhere with this.

I get to thinking this way every time I see a romantic movie. What if I had my great love already and lost it? What if great love only exists in the movies? If that is true then The Notebook is a wonderful example of the big love I wish existed in real life. A collection of great actors comes together with a director slowly coming of age to create, not a perfect movie, but a romantic and memorable movie.

The film stars Ryan Gosling as Noah, a poor boy working in a lumber yard who one summer night meets the woman of his dreams. Her name is Allie (Rachel McAdams), the daughter of rich parents who has moved to the small southern town of Seabrook only for the summer. Allie does not share Noah's immediate attraction but eventually his charm breaks through and the two begin a torrid summer love affair.

Parallel to this is the story of an old couple living in a nursing home. James Garner and Gena Rowlands are the old couple. While he is in good shape, she is suffering from severe dementia. He kindly comforts her by reading to her from a notebook the story of Noah and Allie's love affair. You will have to see the film for the rest of their story.

Naturally, with Allie coming from a rich family and having a disapproving mother (Joan Allen), their affair is destined to be short lived. When Allie returns home very late from a date with Noah, her mother forces her to return to their home in Charlotte. She leaves a message for Noah to write to her but sadly, his letters are intercepted by her mother. He goes on to fight in World War II while she heads to college and a few years later is engaged to another man played by James Marsden. Noah and Allie reunite once more but again you will have to see the film to see if there’s is a happy ending.

Or you could read the book by Nicholas Sparks, the famed romance writer whose credits also include the sappy A Walk To Remember and the even sappier Message In A Bottle. Indeed Sparks has a tendency to lay it on pretty thick but The Notebook somehow is not as bogged down as the previous novels. Maybe it's better writers adapting the book to the screen but whatever the case, The Notebook is far better than either of Sparks’ other works.

Maybe it's just the amazing cast. Gena Rowlands and James Garner are fantastic. The heartbreaking chemistry of these two masterful actors should land them both Oscar nominations in the supporting categories. Rowlands especially is magnificent. I don't cry at movies very often, after years of working as a critic, but I was very moved by Ms. Rowlands’ work in this film. It helps that her son Nick Cassevetes' camera absolutely loves her.

Ryan Gosling has been a star on the rise for a few years now and with his performance here he has guaranteed his stardom. Gosling has the presence and chops of a true movie star. Watch the way he commands attention in every scene without having to force it. It's honestly like watching a young Paul Newman or maybe James Dean. Gosling has presence, gravitas, and charisma to go with his remarkable good looks. 

The films only obvious weak point is, unfortunately, Rachel McAdams who sadly can't find her footing for most of the film. It's probably her pairing with Gosling. Though they have okay chemistry, McAdams is clearly intimidated and Gosling is so good that his performance exposes her flaws. She may yet have stardom in her future, she was good in her comedic turn in Mean Girls earlier this year, this however is not her coming out party as a great actress.

The films real revelation may be director Nick Cassavetes who, after a series of almost great films, finally finds himself with The Notebook. The material is a little sappy at times, overly sentimental, even a little precious but Cassavetes is clearly in command and wrenches the film away from too much melodrama. Cassavetes smartly relies on his terrific actors to carry the day and they make this a memorable experience.

The Notebook is a wonderfully romantic film. It's a film that got to my emotions like few films are able to do. I always get a little broody and contemplative after a movie like this and it leads to hours of old photos and pop songs. I believe there is big love out there in real life, you just have to try and find it or let it find you. Even if you lose it, it's still big. No matter what, big love will always be on the big screen, a comforting reminder of a dream you have for yourself.