Movie Review The Chronicles of Riddick

The Chronicles of Riddick (2004) 

Directed by David Twohey

Written by David Twohey

Starring Vin Diesel, Karl Urban, Dame Judi Dench, Keith David, Thandie Newton, Colm Feore 

Release Date June 11th, 2004 

Published June 16th, 2004 

2000's Pitch Black was a surprise hit thanks to the combination of hardcore sci-fi fans and a low budget. The biggest thing to come from Pitch Black was not its grosses but it's star, the bald-headed muscleman Vin Diesel. Four years later, up the budget and the star power and the sequel The Chronicles Of Riddick has the look and feel of a blockbuster. In other words, the antithesis of it's origins. More proof that a bigger budget doesn't make a better movie.

Vin Diesel returns as the anti-hero Riddick. With his glowing eyes and muscled physique, Riddick is supposedly the most dangerous man in the universe. Since escaping from the last uninhabitable planet, Riddick has been leaping from one planet to the next, narrowly avoiding the Mercs, a group whose gig is like bounty hunters but with a different title.

A group of bounty hunters, err Mercs, led by Toombs (Nick Chinlund) have been hard on Riddick's trail for a while but with little success. After finally getting their hands on him, Riddick finds a way to escape and take over their ship. Crash landing on another planet, Riddick comes face to face with a rare man from his past who doesn't want to kill or capture him, Imam (Keith David). He’s a man whom Riddick saved four years ago, one of three holdovers from Pitch Black.

As luck would have it, Riddick has crashed right in the middle of an invasion by a “convert or die” warlord clan called Necromongers, led by a man called Lord Marshall (Colm Feore). Imam asks Riddick if he will help fight the Necromongers, who kill anyone who refuse to join them. Riddick isn't interested in fighting for a cause other than himself. It's only when the Necromongers threaten him that he fights back.

Honestly, most of the plot is rather lost on me. Somehow, Riddick is the only man who can fight the Necromongers, something about his nearly destroyed race called the Furions. Anyway before Riddick can get down to pounding Necromongers he is recaptured by the Mercs and taken to yet another ridiculously, uninhabitable planet. It's a prison camp where he finds Kyra, or Jack or both. She was Jack in Pitch Black but played by a younger actress, now she's Kyra and played by Alexa Davalos. (See the original to make more sense of that)

Where to begin with this film’s problems? How about Dame Judi Dench who while radiant and always credible as an actress, can't make the film’s idiotic, nonsensical dialogue sound plausible. Poor Thandie Newton has an even harder time with her sub-Lady Macbeth role as Lady Vaako, the wife of the Necromongers’ second in command Lord Vaako played far more credibly by Karl Urban.

Worst of all though is Colm Feore who is so badly miscast. Colm Feore is a believable actor playing a conniving lawyer or maybe an Enron executive but as a bad guy tough enough to beat up Vin Diesel, I wasn't buying it. If this guy could take Riddick then why are we watching this movie? Give me an actor of some bulk or at least a Rutger Hauer type who could bellow Riddick to death. That I could believe.

Look, Riddick is entirely, stupidly contrived sci-fi, low on the sci, high on the fi. This is a big dumb loud action movie that claims the title sci-fi only for its space setting. Regardless of that, the big dumb loud action is well staged, well shot and a whole heck of a lot of fun.

Vin Diesel does what Vin Diesel does, kicks ass with an occasional bit of dark humor. The fight scenes are badass and the effects are pretty good, especially the burning hot sun on the prison planet that melts people, very cool gory effect.

Did I like Chronicles Of Riddick? Kind of. Take it for what is and don't expect much else and you can be viscerally entertained. I prefer my sci-fi with a little more intellect but occasionally a big dumb loud action adventure, if it's technically proficient, can work on me. Some of Chronicles of Riddick work. What doesn't, really doesn't.

Movie Review: Crazy as Hell

Crazy as Hell (2002) 

Directed by Eriq LaSalle

Written by Jeremy Leven

Starring Michael Beach, Eriq LaSalle, Ronny Cox 

Release Date September 27th, 2002 

Published November 4th, 2002 

For eight years, Eriq LaSalle was best known for his sullen brooding performance as Dr. Peter Benton on NBC's ER. His rare big screen appearances are highlighted by a fascinating turn in the race drama The Drop Squad. In his directorial debut in Crazy As Hell LaSalle let's his hair down and delivers an over-the-top take on religion and race in a mental hospital.

Crazy As Hell tells the story of controversial psychiatrist Dr. Ty Adams (Another former ER actor, Michael Beach,). His non-medical approach to therapy has lead to the death of two patients but has seemingly helped more than it has hurt. Dr. Adams arrives at Sedah Psychiatric Hospital to an unwelcome glare from the facilities boss Dr. Delazo (Ronny Cox). Not only does Dr. Delazo disagree with Dr. Adams's form of therapy he is also unhappy about a documentary crew that has been installed in the hospital for thirty days to document Dr. Adams's unusual treatment. The documentary crew is headed up by the very engaging John C. McGinley.

A short time after Dr. Adams arrival, a new patient arrives. The patient is a large intimidating man who claims to be Satan himself (LaSalle). Having checked himself into the hospital voluntarily, Satan is not initially one of the doctor's patients.

Dr. Adams meanwhile is haunted by his past in which his wife and child were murdered and he believes it was his fault. Adams is plagued by visions of his late wife and has animated conversations with her that is picked up by the documentary cameras.

Dr. Adams's treatments from the start are aimed at one patient named Cheryl (Tracy Petit). Cheryl is a paranoid schizophrenic who doesn't speak to anyone. While on medication she is sedate and quiet. However under Dr. Adams's treatments, Cheryl is a screaming crying mess that refuses to leave her room. Despite Delazo's worries, she does begin to show some slow improvement. However, the little improvement that Dr. Adams makes with Cheryl is limited by the outbursts of Satan, who refuses to be ignored. He delights in interfering with Dr. Adams and teasing him with hints as to whether or not he really is who he says he is.

As a first time director, Eriq LaSalle shows a talent for atmospherics. His pacing could use some work as the film drags a little in the middle but the teasing aspects of the dialogue and performances are compelling enough to hold your interest.

One thing that LaSalle would benefit from is better casting. Michael Beach is a wooden performer of little charisma. He sells the dramatic aspects of the film as his character reveals a mental illness of his own induced by his wife's death. However, the interaction between Beach and LaSalle and Beach and Ronny Cox is stilted and unbelievable as they act circles around Beach. Beach's poor interaction with LaSalle and Cox seem like they are chewing scenery but in reality they are simply eating a scene around Beach because somebody had to make the scenes interesting.

If anything, Crazy As Hell shows the potential of a great filmmaker in Eriq LaSalle and I look forward to his next turn behind the camera.

Movie Review: The Boys from Brazil

The Boys from Brazil (1978) 

Directed by Franklin J. Schaffner

Written by Heywood Gould

Starring Gregory Peck, Sir Laurence Olivier, Steve Guttenberg

Release Date October 4th, 1978 

Published December 2nd, 2002 

Recently I discovered my new favorite cable channel is The History Channel. For some reason I find myself fascinated by bible history, mysteries of the unknown and the History channels specialty; World War 2. There doesn't seem to be any angle of WW2 that the History Channel hasn't covered, even movies about World War 2. A recent special detailed the numerous films with links to WW2 and one caught my eye, a strange 1978 teaming of acting legends Gregory Peck and Laurence Olivier called The Boys From Brazil.

Mixing a strange bit of actual history with the limitless potential of genetic science and a whole lot of lame melodrama and you have one odd, unbelievable film.

It is an actual historic fact that the legendary monster Dr. Joseph Mengele, one of the authors of Hitler’s Final Solution, escaped Germany some time before the end of the war. Mengele was captured in South America years later by a pair Nazi hunters. The Boys From Brazil imagines Mengele (Gregory Peck) living well in South America and teaming with a small group of Nazi officers who, like Mengele, escaped Germany before the end of the war. For this group of Nazis the war is not over and Mengele has a rather far out plan that needs to be put into place immediately in order to work. The plan is an elaborate experiment that began before Hitler's death and continued with Mengele while living in exile in Paraguay. The details of the plan are uncovered by an eager young Jewish “Nazi hunter” played by Steve Guttenberg. 

Yes, THAT Steve Guttenberg.

The young Nazi hunter is murdered for spying on this historic meeting but not before he relays a good portion of the plan to the world’s leading Nazi hunter, Ezra Lieberman (Laurence Olivier). The plan calls for the assassinations of 94 seemingly random men all age 65 and all civil servants. Lieberman is at first highly skeptical of the story but after learning of some unusual deaths of men across the world fitting similar circumstances, Lieberman begins looking for a pattern and finds it in the men's children.

History tells us that Hitler wasn't just psychotic, he was nuts too. He and Mengele conducted horrible experiments on both Jews and non-Jews, including genetic testing and attempts at cloning. There is documented proof that Hitler looked into the potential of cloning himself and that he had Mengele take samples of his DNA for such purposes. The Boys From Brazil imagines that these experiments were successful. All of which leads to a dramatic confrontation between the evil doctor and the Nazi hunter in a farmhouse in Lancaster, Pennsylvania. 

No I'm not kidding!

The film is brazen in its ridiculous premise and awful scripting. One could even say that any dramatizing of Mengele especially one so broad and weird as this portrayal is highly offensive and tarnishes the memory of the people Mengele tortured. The film is so poorly staged and it's shocking revelations so stupid your left wondering how a film like this could ever get made.

Even more puzzling is how two amazing actors like Peck and Sir Laurence Olivier could look at a script so ridiculous and actually see something worth filming. Olivier actually does a scene opposite Steve Guttenberg, the man who made Lawrence of Arabia playing opposite the guy from Police Academy!

Maybe Peck and Olivier thought they were making a comedy. That might explain there loud over-the-top performances that were so hammy they would make Jeremy Irons blush. The Boys From Brazil is a movie only Mystery Science Theater could appreciate. It’s laughably over the top, poorly staged and ridiculously scripted. And to think, I could have been watching The History Channel. 

Movie Review: Before Sunrise

Before Sunrise (1995) 

Directed by Richard Linklater 

Written by Richard Linklater, Ethan Hawke, Julie Delpy

Starring Ethan Hawke, Julie Delpy 

Release Date January 27th, 1995

Published June 10th, 2004 

Massively moneyed blockbusters are supposed to have sequels, not tiny independent romances with cult followings. Richard Linklater however has always been one to do things differently and thus there is now a sequel to his 1995 romance Before Sunrise. With that film set for release in America in July (it's already been seen in Germany where it premiered at the Berlin), I thought it was a good time to revisit the original and I’m glad I did.

On a train traveling through Europe, two twenty-somethings meet by chance and spend one romantic night in Vienna. Jesse (Ethan Hawke) is an American who came to Europe to see his girlfriend and ends up heartbroken and wandering. Celine (Julie Delpy) is a French college student headed home from Budapest after visiting relatives.

Jesse and Celine bond over their mutual distaste with a couple loudly fighting in indecipherable German. They decide to hang out together in the dining car and what begins as a time-killing conversation becomes a series of smart, witty exchanges and real honest romance. He has to get off in Vienna to catch a plane the next morning, she is supposed to just go straight home but Jesse's charm tempts her enough to jump off the train for one romantic night in Vienna.

A more Hollywood style romance would fly off the rails at this point adding mobsters, thieves or something supernatural to the plot in order to give the characters something more to do than just walk and talk. Writer-Director Richard Linklater is more confident in his writing and especially his dialogue to need any Hollywoodized plot devices. His dialogue and his two amazing actors are all the devices he needs.

As Jesse and Celine laconically wander the streets of Vienna, their conversations twist and turn through such diverse topics as reincarnation (they both believe but Jesse has a unique theory), Feminism (Celine believes it may be a conspiracy to get woman to act more like men so they will have sex more), and the inevitable discussion of each other’s pasts which they handle in part with fake phone calls to best friends.

The conversations border on cuteness but the two actors are good at steering away from anything that might be considered cloying. Julie Delpy is a revelation. She looks like your classic French ingenue, the type of shrinking violet that could be blown away by a stiff wind. She changes that right from the start by jumping right into the heavy conversation with the sardonic and clever Hawke and matching him word for clever word. She also curses like a sailor, but an unbelievably sexy French sailor.

What a wonderfully romantic idea. Meeting a stranger on a train and falling in love in some far out foreign locale for only one night. I have always thought it would be amazing to go Europe with a backpack full of books and a laptop of my own writing and just wander until I find my muse. Before Sunrise allowed me to lose myself in that fantasy with two characters who's wit, intelligence and romance could be just the inspiration I would need.

The sequel, Before Sunset, hits theaters in July 2004 and though I haven't seen it yet, the idea of it evokes Claude Lelouche's masterpiece A Man and A Woman and it's sequel of the same title set 20 years later. Both films are romantic and smart, following strangers who fall in love only to separate soon after. Hopefully, Before Sunset will be a more successful follow up than Lelouche's follow-up, which damaged the first film’s legacy as a classic. I doubt that would happen to Linklater who has yet to make a bad film, at least from this critic’s perspective.

If Before Sunset can manage to be as witty, romantic and poetic as Before Sunrise, then those of us who enjoy movies without the aid of special effects and blaring soundtracks will have something to look forward to this summer.

Movie Review The Alamo

The Alamo (2004) 

Directed by John Lee Hancock

Written by John Lee Hancock, Stephen Gaghan, Leslie Bohem

Starring Patrick Wilson, Billy Bob Thornton, Dennis Quaid, Jason Patric 

Release Date April 9th, 2004 

Published April 8th, 2004 

With the patriotic fervor of the war in Iraq having died down, the time for a rousing patriotic war film may have passed. Indeed the producers of The Alamo had to be considering that fervor when they went into production in early 2003. Unfortunately, they lost the opportunity to capitalize on it when the film was deemed not ready for its original December release. Now dumped with little fanfare into the month of April, The Alamo arrives as a professionally made but unmemorable history lesson.

Directed by John Lee Hancock (The Rookie), The Alamo tells the story of how legendary figures Jim Bowie (Jason Patric), William Travis (Patrick Wilson) and Davy Crockett (Billy Bob Thornton) came to a tiny church in San Antonio to fight for the idea that would become the state of Texas.

For Bowie, San Antonio was the home of his late wife where he had spent many happy nights. His return to San Antonio and to the Alamo was a favor to his friend General Sam Houston (Dennis Quaid). Houston was to retrieve the Texas army's largest canon and return it to Gonzales, Texas where the leaders are debating their future. By taking the canon, they are essentially ceding San Antonio to the Mexicans.

William Travis on the other hand, has been charged with holding the Alamo until a decision can be made as to how Texas will declare and defend itself from Mexico's dictator Santa Ana. Will the Texans declare their independence or negotiate a settlement with Santa Anna to hold onto their land under Mexican rule? Under the assumption that Santa Anna will not attack in the winter, the Alamo is thought to be fairly secure, allowing time for the leaders to debate their options.

For David Crockett, as he prefers to be called, Texas is a place to reclaim his legend after losing his congressional seat in Tennessee. Crockett has spoken to Sam Houston and been assured a good deal of land and power if Texas is declared independent. Crockett arrives at the Alamo unaware that the fighting has not stopped, only slowed due to the weather and the Texans' indecision over how to declare independence.

The setup for the climactic battle is slow and drawn out, probably because the actual battle of the Alamo didn't last long. Once Santa Anna decided on a full frontal attack with thousands of Mexican soldiers, there was little that the three hundred or so Texans could do to stop them. The setup for the battle has its moments, such as when Davy Crockett grabs his fiddle and plays along with Santa Anna's army marching band. Still, for the most part it's all rather dull.

We learn little about the historical figures of Bowie, Travis or Crockett other than both Bowie and Travis were slave owners and that Crockett never actually jumped a raging river or took on 20 men at once. Credit Billy Bob Thornton with the film’s best performance. Davy Crockett is a poetic pragmatist who struggles with his legendary status that was assured well before he became a martyr for Texas independence at the Alamo.

The film’s best moments are the battle scenes, the siege at the Alamo, which is quick and brutal, and the battle of Houston where Sam Houston avenged the Alamo by routing Santa Anna's army in 18 minutes. Director John Lee Hancock manages one great moment of emotion with Houston's "Remember The Alamo" rallying cry but other than that the film is rather staid and emotionless. Well made, but soulless.

The film is very professionally crafted with solid acting and a well remembered story. However, it plays like a history lesson from a very dull high school class. None of the characters, aside from Davy Crockett, have much of a personality and none of the supporting performances makes any impression whatsoever.

There was a controversial rumor about Davy Crockett's death but it's only a misunderstanding. The Crockett legend is very much intact at the end of the film. Without the controversy there is very little that is memorable about this Alamo.

Movie Review After April

After April (2001) 

Directed by Brian Evans 

Written by Ryan Farley 

Starring Michael McKiddy, Angela Duffy 

Release Date December 2nd, 2002 

Published December 2nd, 2002 

AIDS is an issue that has disappeared from mainstream consciousness. That doesn't mean that it isn't still killing people and destroying lives because it certainly is, especially in urban communities. What that means is that AIDS is no longer the cause celebre it once was. Hollywood stars still wear their fashionable AIDS ribbons and show up for the occasional benefit. Still, AIDS statistics that were once front page news are now buried in the back and research into a cure for AIDS languishes even as great strides continue to be made.

In the movie universe you would think AIDS has been cured, because few of us can recall the last time we saw a movie with an AIDS afflicted character. The film After April does not come out with an agenda aimed at bringing AIDS to the forefront once again. Moreover it deals with the disease in an intelligent and emotional way one hopes will make people remember this most horrible of killers and the lives it destroys.

After April is the brainchild of director Brian Evans and writer Ryan Farley. The film stars Michael McKiddy as Patrick, an inner city white kid whose parents are non existent and whose drug habit was an all consuming problem until he met Eve, played by Angela Duffy. While Eve is also a junkie they both would like to get clean and leave their inner city home. Just one week from starting a new life with the help of Eve's Aunt, Patrick gets some very bad news. 

A letter informs Patrick that the local blood bank could not use his blood for unspecified reasons. Determined to know why his blood was rejected Patrick and Eve go to the blood bank and Patrick intimidates a bureaucratic nurse into telling him what happened,. Patrick's blood was rejected because he has HIV, the virus that causes AIDS.

Angry and depressed Patrick begins to search for the girl he is certain infected him, April, played by Stephanie Slongo. A fellow junkie, April has become a prostitute since she met Patrick. In flashback, we see Patrick meet April in a bar where she entices him into an alley where they have unprotected sex.

Knowing that Patrick brought this onto himself makes him difficult to sympathize with but McKiddy's sad desperate performance makes Patrick a frighteningly real character. McKiddy's Patrick is like someone we know, anyone who sees this film will see traits that they recognize in people who are close to them. Much like Brad Renfro's performance in Bully, McKiddy's raw realism gives After April more affect than you’re expecting.

Angela Duffy as Eve is far more than your average movie girlfriend. Not merely a plot device Eve is a fully fleshed out character who allows the audience to care about Patrick because she cares about him. Even in Patrick's most extreme moments Eve stays with him not because she is weak or needy but because she truly cares about him.

The cast is rounded out by Ethan Jordan as Carney, Patrick and Eve's dealer until they decided to clean up. Carney is also April's dealer so when Patrick goes looking for her Carney is the first person he goes to. Surprisingly philosophical for a dope dealer, Carney combines an unusual social conscience with his antisocial dealings. Carney doesn't like what has happened to his neighborhood, but openly admits that he is part of the problem. He honestly respects Patrick's attempt to clean up and when he sees Patrick slipping as he searches for April, Carney offers wise council. Though his rap about how having inner city kids killing each other is what the government wants makes the character look ridiculous, Jordan's honest well delivered performance keeps the character grounded and real.

The unique combination of revenge thriller and an issue as serious as HIV makes After April one of the most fascinating films I've seen in a long time. The film’s direction and production values could stand for improvement but as it is, After April is a raw and thought-provoking film. A film with more than just an idea, more than just a gimmick, April brings the tragedy of AIDS to the streets in a way that is shocking and attention grabbing without being sensationalistic or preachy. This is a very good movie.

Movie Review Afropunk: The Rock N Roll N***** Experience

Afropunk: The Rock N Roll N***** Experience 

Directed by James Spooner

Written by Documentary 

Starring Matt Davis, Tamar Kali, James Spooner 

Release Date November 6th, 2003 

Published November 6th, 2003 

German philosopher Georg Hegel defines alienation as the unhappy consciousness. He continues on saying that alienation is typical of philosophical skepticism as an alienated soul which is conscious of itself as a divided being, or a doubled and contradictory being whose aspirations towards universality have been frustrated.

The subjects of James Spooner's fascinating documentary Afropunk know all about alienation as defined by Mr. Hegel. Being black in the predominantly white punk scene and a punk in the black community is to be a divided soul. However, as this documentary shows these divided souls are making a way for themselves in a growing community of artists.

Shot over a year on a minuscule budget Afropunk is a collection of interviews with fans and artists in the punk scene. This is not the whitewashed MTV punk scene as identified by the Good Charlotte's of the world. Rather this is the true punk scene of tiny clubs and rowdy hardcore fans. As well as near poverty stricken artists who don't do punk to get on MTV but rather as their only true way to express themselves artistically. Artists who found something in the angry thrashing rhythms and screeching riffs of Punk that can't be simply explained.

Among these artists is Matt Davis from Iowa City Iowa, who performed in a number of punk bands over his short life including the well regarded Ten-Grand. Living in near poverty with his band-mates, Davis personified the duality of the punk lifestyle. He lived for the music and the energy of performing, even if it meant selling blood to make rent. Davis died before completion of the film.

Tamar Kali well known in the New York underground scene for combining hardcore rock and soul identified with the aestheticism of punk. The punk look and the angry lyrics stirred something inside her. After years of struggle with her identity as a punk and a black women, her fully formed personality leaps off the screen with great strength. Don't be surprised when she brakes through to wider audiences.

Moe Mitchell is the lead singer of the hardcore punk band Cipher. The band with its three white members and Moe at its lead is known for its black power lyrics. Whether Moe's audience has an understanding of his message seems unlikely, the audiences are almost entirely white. Moe doesn't seem to care. After attending Howard University and becoming involved in the black power movement, Moe has found peace with his duality and his friends in the band are aware that when the revolution comes they won't be on the same side.

Finally, my favorite person in the documentary is Marika Jonez, a punk DJ in California. Her strength is organization. She runs a website that promotes punk shows in her California locale and DJ's at punk clubs. Her struggle as a young black punk is the most poignant of the stories in Afropunk because she is the youngest and most vulnerable of the people profiled. She isn't as comfortable with herself as the others and is only at the beginning of her self-discovery.

The documentary intersperses the stories of it's four leads with interviews with the people who kicked down the door and made it easier for African-Americans to thrive in the Punk scene. There are interviews with the members of Bad Brainz, Fishbone and the Dead Kennedy's amongst many other pioneers.

Director James Spooner weaves a remarkable story in Afropunk. One that combines the history of a scene with a philosophical exploration of identity and humanity. For anyone who thinks Punk is just loud angry noise, Afropunk will teach you that Punk is one of the few musical forms where discourse thrives. Expressions of anger and frustration over politics religion and race are just some of the topics that Punk tackles that all other music stray from.

Afropunk is difficult to find, currently Director James Spooner is taking it around the country on his own dime. But if you get the chance, you must see this terrific documentary.