The Soldier (1982)
The Soldier is a curious beast. This independently financed action film from the early eighties draws on Cold War themes and features sub Bond exploits, endeavouring to punch above its weight. It also had one of those trailers that really over sold the film. You know the kind. One that showed all the best action sequences and implied that there was a lot more content of that kind in the movie . The marketing also made a big deal about Klaus Kinski's, blink and you'll miss him, cameo. I remember the promotion of the film in my local video store during my teenage years. Specifically the high expectations I had (the director's previous movies was The Exterminator) and how the film never quite lived up to them. I wanted to like it so much but even back then it was clear that the movie was lacking.
The Soldier is a curious beast. This independently financed action film from the early eighties draws on Cold War themes and features sub Bond exploits, endeavouring to punch above its weight. It also had one of those trailers that really over sold the film. You know the kind. One that showed all the best action sequences and implied that there was a lot more content of that kind in the movie . The marketing also made a big deal about Klaus Kinski's, blink and you'll miss him, cameo. I remember the promotion of the film in my local video store during my teenage years. Specifically the high expectations I had (the director's previous movies was The Exterminator) and how the film never quite lived up to them. I wanted to like it so much but even back then it was clear that the movie was lacking.
After a second viewing of The Soldier some thirty four years later the flaws are more glaring obvious than ever but also far more understandable. Director, writer and producer James Glickenhaus simply ran out of money. The budget was mainly blown on the various action sequences and their respective international locations. This is why after such an initially promising premise the story fizzles out in the final act. Characters vanish and the ending is very underwhelming and over too quickly. This is very much a film of two halves. Still it is not without interest, featuring two standout stunts. The first being a spectacular high fall from an exploding cable car, a scene that turned up in several commercials at a later date. There's is also an excellent slow motion full burn, caused by a booby trapped light bulb.
Hardcore fans of action movies will enjoy the cast of The Soldier. Featuring eighties 'B' list action heroes, Ken Wahl and Steve James, performances fall exactly within the parameters you expect with such casting. The plot featuring renegade KGB agents hijacking a plutonium shipment and attempting to plant a nuclear device in the Saudi Arabian Ghawar oilfield, is somewhat impenetrable. However it doesn’t really matter. It’s just that sort of movie. The film curiously features a soundtrack by German electronic music collective Tangerine Dream, who scored a very eclectic selection of movies during the seventies and eighties. Overall I would only recommend The Soldier to fans of this niche sub-genre. The more casual viewer would be better off watching one of the more mainstream offerings from this period such as Nighthawks or 48 HRS.
The Outlaw Josey Wales (1976)
The Outlaw Josey Wales is often hailed as the last great western from the golden era of the genre. As a child when I first saw the movie, I failed to appreciate its subtleties, having been raised on a more traditional diet of movies from this genre such as El Dorado. It has only been in more recent years that I have revised my opinion of this finely crafted piece of cinema. It is radically different from the much of Clint Eastwood's earlier work and most certainly displays a quality in his film making that was not apparent previously.
The Outlaw Josey Wales is often hailed as the last great western from the golden era of the genre. As a child when I first saw the movie, I failed to appreciate its subtleties, having been raised on a more traditional diet of movies from this genre such as El Dorado. It has only been in more recent years that I have revised my opinion of this finely crafted piece of cinema. It is radically different from the much of Clint Eastwood's earlier work and most certainly displays a quality in his film making that was not apparent previously.
Actor and director Eastwood called The Outlaw Josey Wales, "an anti-war film". This western, set during the Civil War decade, certainly addresses themes that can be seen as allegorical of the Vietnam War. However upon repeated viewing the movie offers more and more, showing great depth with its exploration of racial politics, spiritual redemption and the burden of obligation. Once again the universal medium of the western genre provides a broad canvas for an interesting analysis of the human condition.
Eastwood is a very functional director and his earlier works are often quite linear and minimalist. The Outlaw Josey Wales on the surface offers simple story of revenge and reconciliation. Yet despite the subtlety of its narrative, the film provides a wealth of complex characters. The script by Philip Kaufman is lean yet there is a great deal of weight to most of the dialogue. The production benefits from a strong ensemble cast with memorable performances from John Vernon, Will Sampson and Paula Trueman. Yet it is Chief Dan George who steals the show as Lone Watie. His performance as a world weary Indian is an absolute delight.
What makes The Outlaw Josey Wales so different from contemporary movies is it's foundation in strong characterisation. Eastwood's functional approach to film making allows viewers to focus on the story and its protagonists. That's not to say that there aren't any good set pieces, because there are. However they are an embellishment, rather than a focal point and do not detract from the from the main story. The reason the movie works so well is because we care about those we are watching. This is something that is so often lacking from many of the movies I see nowadays.
Perhaps this movies master stroke is its ending which takes the concept of the classic showdown in a different direction and resolves the underlying conflict between Eastwood and Vernon is an unexpected way. It makes several thought provoking statements that give the viewer much to reflect on. Cinema is after all not quite the passive experience that some would have you believe. Such is the nature of quality film making and The Outlaw Josey Wales is a fine example of such. It certainly deserves its reputation and rates highly amongst Clint Eastwood's finest work.
The Time Machine (2002)
I never got round to seeing The Time Machine during its initial release. The marketing at the time placed a lot of significance upon the fact that the director, Simon Wells, was H G Wells grandson. This made me somewhat suspicious because apart from novelty value, this really has no bearing on the movie in any real capacity. Finally having finally watched the film, my immediate conclusion is that it falls between two stools. The Time Machine starts as a romantic drama and then later on tries to re-assert itself as an action driven adventure. Unfortunately it does not commit fully to either, resulting in a rather odd, melancholy film.
I never got round to seeing The Time Machine during its initial release. The marketing at the time placed a lot of significance upon the fact that the director, Simon Wells, was H G Wells grandson. This made me somewhat suspicious because apart from novelty value, this really has no bearing on the movie in any real capacity. Finally having finally watched the film, my immediate conclusion is that it falls between two stools. The Time Machine starts as a romantic drama and then later on tries to re-assert itself as an action driven adventure. Unfortunately it does not commit fully to either, resulting in a rather odd, melancholy film.
In the 1960 original, the Time Traveller (Rod Taylor) was driven by sciencetific zeal and found love along the way. In this re-imagining, our hero Dr. Alexander Hartdegen (Guy Pearce) embarks on his journey through time and space as the result of the death of his fiancée. After witnessing the partial destruction of the moon in 2030 Alexander arrives at a distant point in the earth's future where the surviving humans have become a homogeneous race, preyed upon by the mutant Morlocks. He meets a sympathetic woman from the Eloi tribe called Mara (Samantha Mumba) and subsequently has to decide whether to continue to try and change his past or accept his fate and stay with her in the future.
For once rather than being lumbered with a movie that out stays its welcome, The Time machine actually suffers from being a little too short. The characters he meets in the future are somewhat ill defined and could all benefit with a bit more development. As a result a lot of their motivations seem vague. Orlando Jones cameo as the holographic computer interface Vox 114 is also a rather clumsy plot device and is used purely for the purpose of plot exposition. Jeremy Irons’ brief appearance at the end of the final act as the Über Morlock, is rather reminiscent of Bond confronting Blofeld in his volcano lair. Why the villain of the movie would let our hero go seems somewhat illogical.
Yet it’s not all bad. Guy Pearce is very watchable and there are moments of humour when Orlando Jones is on screen. The attack upon the Eloi by the Morlocks is very well staged and quite scary. The final cannibalistic revelations are also quite ghoulish without being too obvious. Overall The Time Machine provides a lightweight evening’s entertainment, if you are undemanding. Just don't make the mistake of comparing it to the original as it really isn't the same sort of movie and don't scrutinise the plot too closely. There is a better film in there trying to get out. I suspect that there may have been some heavy handed editing made upon the initial workprint. Something that is increasingly common these days, when a studio finds itself with a movie they are not entirely sure what to do with.
The Ultimate Warrior (1975)
I discovered The Ultimate Warrior via an anecdote my Father told me, about a film that he had once seen in which "Telly Savalas got paid in cigars". I was somewhat flummoxed at the time but after a little research it became apparent that he meant Robert Clouse' 1975 science fiction movie. I finally got to see The Ultimate Warrior for myself in the late eighties on satellite. Turns out it was Yul Brynner and not Telly Savalas but it’s easy to get such iconic seventies slapheads confused. He was spot on about the payment in cigars though.
I discovered The Ultimate Warrior via an anecdote my Father told me, about a film that he had once seen in which "Telly Savalas got paid in cigars". I was somewhat flummoxed at the time but after a little research it became apparent that he meant Robert Clouse' 1975 science fiction movie. I finally got to see The Ultimate Warrior for myself in the late eighties on satellite. Turns out it was Yul Brynner and not Telly Savalas but it’s easy to get such iconic seventies slapheads confused. He was spot on about the payment in cigars though.
The seventies was a truly great time for intelligent and thought provoking science fiction. Environmental issues were very topical so it’s not surprising to see such themes as a biological apocalypse in movies such as No Blade of Grass and The Ultimate Warrior. Both films depict a very stark vision of the near future and the decline of civilisation. The latter is especially true of The Ultimate Warrior. Through the minimal use of matte paintings and still photographs, the viewer is shown a decaying New York, bereft of power, utilities or any semblance of government. Pockets of survivors live in scattered communes, whereas the streets belong to feral humans.
One such commune, led by The Baron (Max von Sydow) has managed to grow several strains of disease resistant vegetables. Yet despite this breakthrough the group is teetering on the edge of total disintegration, due to the dwindling food reserves and the constant attacks from a rival gang run by William Smith. Enter Yul Brynner as Carson, a fighter for hire. Upon accepting The Baron's offer of employment, he learns that he is not there to protect the community but to secretly take the precious supply of seeds to safety. The deal also includes the safe escort of The Baron's pregnant daughter.
Despite a somewhat simplistic plot, The Ultimate Warrior explores many ideas. Carson is not just a thug but a wordly and introspective character. The Baron is also a complex individual, feeling loyalty to a group of people who have long ceased to think for themselves. He knows that they will inevitably turn upon him but he maintains his role to the very end. Clouse directs competently and makes no attempt to soften the impact of the movies content. The fights are minimalist and efficient. There are no guns or steampunk weaponry. Carson uses a simple knife. The story offers little moral redemption. Humans quickly abandon the rules of society and become mere predators, just to live to see another day. It's bleak and worryingly plausible.
It is a curious thing that this relatively minor studio picture achieves a lot more in narrative terms than many contemporary equivalents. It is greatly assisted by the presence of two outstanding character actors. Brynner who was fifty five at the time, still comes across as an imposing and formidable street fighter. The artistic freedoms of the time are very apparent in the movies ending. Carson's personal sacrifice is a metaphor for society having to make tough decisions for the sake of the greater good. It is highly unlikely that such an end would appear in an equivalent film today. Ignore the superficial trappings of the time. The Ultimate Warrior still has a lot of credible things to say. Unlike other more recent depictions of the future, at least no one here is wearing a colander as a hat.
The Medusa Touch (1978)
The Medusa Touch is a paranormal thriller based on the novel by Peter Van Greenaway. It has been one of my favourite films since I first saw it on TV in the mid-eighties. It left a lasting impression upon my young mind with its very British sense of style and narrative understatement. Being a joint British and French co-production some interesting changes were made to the original story to suit an international audience. The British Police Inspector from the book becomes a French Officer (played by Lino Ventura) on administrative exchange. The gender of the psychiatrist Zondfield also changes from male to female to accommodate American actress Lee Remick. The screenplay also reduces the role of the church in the storyline and updates several topical references.
The Medusa Touch is a paranormal thriller based on the novel by Peter Van Greenaway. It has been one of my favourite films since I first saw it on TV in the mid-eighties. It left a lasting impression upon my young mind with its very British sense of style and narrative understatement. Being a joint British and French co-production some interesting changes were made to the original story to suit an international audience. The British Police Inspector from the book becomes a French Officer (played by Lino Ventura) on administrative exchange. The gender of the psychiatrist Zondfield also changes from male to female to accommodate American actress Lee Remick. The screenplay also reduces the role of the church in the storyline and updates several topical references.
Richard Burton plays John Morlar, the misanthropic novelist who refuses to die after being violently assaulted in his flat. As Inspector Brunel investigates, he discovers that Morlar has been surrounded by tragedy and disaster all his life. These include the death of his parents, the burning down of his school and his wife’s death in a road traffic accident. Furthermore the evidence indicates that Morlar's malevolence influence may have directly caused these events. Despite being critically injured and confined to a hospital bed, Morlar’s brain activity becomes stronger and stronger. Inspector Brunel becomes increasingly concerned that Morlar may well pose threat to the “establishment” that he hates so much.
Burton's performance in The Medusa Touch is everything that you would expect. He’s ideally cast as a bitter and cynical man, tortured by the gift for disaster that has dominated his life. The film further bolstered by a wealth of British character actors such as Harry Andrews, Gordon Jackson and Michael Horden. All acquit themselves well. The screenplay by John Briley (who also wrote Gandhi and Biko) is sombre and concise. The character of John Morlar has some splendid barbed and pithy dialogue. The strong narrative steadily builds a sense of tension, climaxing when Morlar's telekinetic powers cause "Minster Cathedral" to collapse. The air of mystery is maintained even at the films denouement and we are never fully given a comprehensive explanation of Morlar’s powers. To do so would diminish the movie.
The Medusa Touch is well crafted film for its time and budget. Director Jack Gold gets the most from a strong cast and paces the story well. Although the film is not overtly violent it does have an inherently creepy quality to it. Michael J. Lewis's score is very evocative and very much a product of the time. However a major set piece of the film involving a jet plane crashing into a tower block, does now cause a little unease due to its prophetic nature. I remember UK national newspaper The Daily Mail featuring a centre page article as to how this sequence was filmed by stalwarts of the UK effects industry, Nick Allder and Brian Johnson. The collapsing cathedral in the films finale is relatively minimalist and shows sufficient to make its point.
The Medusa Touch reflects the style of genre film making of the times. A movie of this kind today would be loaded with extravagant set pieces and would need a strong hand in the director’s chair to rein in its excesses. Back in 1978, dialogue and performances were still considered far more effective tools to convey disastrous events. The bleak and cynical tone of The Medusa Touch along with Burton’s performance again show that film makers at the time didn’t feel compelled to provide the audience with a happy ending. So if you prefer a slow burn over shocks and violence then The Medusa Touch may well entertain you. It is an odd beast that straddles several genres, yet its earnest approach and Burton’s screen presence make it more than interesting.
Them! (1954)
Although the realities of the nuclear age where far from pleasant, for Hollywood it was a source of box office gold. Never mind radiation poisoning, cancer and birth defects; the atomic age was good for business. It meant super powers, mutations and giant big monsters. Such terrors offered a clumsy metaphor for the dangers of atomic energy and a source of terror, thrills and drama on the big screen. Them! was one of the first movies in this idiom and became a blueprint for the genre that followed in its wake. Featuring a colony of out sized ants, that initially terrorise New Mexico but eventually migrate to Los Angeles, Them! leaves a trail of destruction and dead B actors in its wake.
Although the realities of the nuclear age where far from pleasant, for Hollywood it was a source of box office gold. Never mind radiation poisoning, cancer and birth defects; the atomic age was good for business. It meant super powers, mutations and giant big monsters. Such terrors offered a clumsy metaphor for the dangers of atomic energy and a source of terror, thrills and drama on the big screen. Them! was one of the first movies in this idiom and became a blueprint for the genre that followed in its wake. Featuring a colony of out sized ants, that initially terrorise New Mexico but eventually migrate to Los Angeles, Them! leaves a trail of destruction and dead B actors in its wake.
Originally planned to be a 3D release, Them! was shot in 4:3 ratio and not Cinemascope to accommodate the process as well as the special effects. However due to technical and budgetary reasons the 3D process was dropped. The black and white film stock lends a faux documentary quality to the proceedings. The story is fast paced and not excessively complex. Lead performances by the great James Whitmore and James Arness are sincere and engaging. As you would expect the full size animatronic ants are somewhat dated by contemporary standards, yet they have their own unique charm and are shot in a way that gives them character. Their sound effects also add to the ambience.
On watching Them! It’s clear to see the influence the film had on James Cameron when he made Aliens. There are several thematic parallels, such as a traumatised child who has lost their parents and a secret lair where the Queen is laying her eggs. There are also Marines with flamethrowers clearing out the infestation. The more you watch old Hollywood B movies from the fifties, the more you'll find the source material that recent blockbusters have plundered. Sadly they usually only take the simplest of ideas and jettison any associated wit, style and drama.
Them! is still a very entertaining ninety four minutes, as long as you accept it for what it is and are aware of the context of the times. The entire genre of fifties monster movies is very interesting from a sociological point of view. They reflect the public concern over the atom bomb and the lack of understanding about the consequences of its use. They also provide a useful insight insight into how the major film studios where always willing to cater to emerging trends. Science Fiction and Horror where always considered to be second rate genres, yet over the next two decades where to prove two of the most lucrative forms of revenue. They also provided a springboard for a great deal of emerging talent.
Rolling Thunder (1977)
Incarcerated in a POW camp for eight years during the Vietnam War, Major Charles Rane returns back home as a national hero and is awarded a silver dollar for every day of his ordeal. Despite the positive press coverage of a returning hero, the reality is far different. Alienated from his family and institutionalised, he sleeps in the garage unable to adjust to normal life. An attack by criminals seeking the silver dollars leaves him maimed and his wife and son dead. He survives the ordeal and seeks revenge, knowing that it will bring him no peace or serve any purpose. It is simply the only option he has.
Incarcerated in a POW camp for eight years during the Vietnam War, Major Charles Rane returns back home as a national hero and is awarded a silver dollar for every day of his ordeal. Despite the positive press coverage of a returning hero, the reality is far different. Alienated from his family and institutionalised, he sleeps in the garage unable to adjust to normal life. An attack by criminals seeking the silver dollars leaves him maimed and his wife and son dead. He survives the ordeal and seeks revenge, knowing that it will bring him no peace or serve any purpose. It is simply the only option he has.
Vigilante and revenge films were big box office in the seventies. What makes Rolling Thunder a cut above the rest is that it was written by Paul Schrader. Overlooked on its initial release this low-budget gem boasts well defined characters and paints a credible picture of the psychological trauma suffered by US veterans. John Flynn's hard-hitting direction, aided by outstandingly performances by William Devane, Linda Haynes and Tommy Lee Jones, bleakly shows three disconnected souls trying to survive in a world that they can no longer function in.
Initially a human drama confronting the issues faced by returning Vietnam soldiers, it suddenly transforms into a brutal, nihilistic revenge film. Paradoxically, violence is never glamorised. It is simply shown as an inevitable consequence. The narrative is aided by Barry DeVorzon soundtrack and Jordan Cronenweth's stark photography. The deadpan script is sparse but still conveys the torment and bleakness of the central protagonists. This is a film with little sentiment although it does explore close friendships that are forged by common experience.
Rolling Thunder is an extremely well-acted, written and crafted film. It touches on many social issues but rather than moralising about them, merely shows them for what they are. The ending is dour and violent but could there have been any other possible outcome that was credible? Although originally scheduled to be released by Twentieth Century-Fox, the studio executives were perturbed by the violence in the final edit and the decision was made to sell it off to American International Pictures. It should also be noted that the lead role was initially offered to Kris Kristofferson.
The Captains (2011)
The Captains is a curious beast. If you’re expecting a traditional documentary where Bill Shatner simply indulges in a standard Q & A with other actors that have portrayed captains within the Star Trek franchise, then you will be disappointed. The Captains is a horse of a different colour entirely. Throughout its ninety minute duration, this documentary veers from personal reflections on acting, muses upon the nature of fame and even touches upon contemplating one’s own mortality. It certainly wasn’t what I was expecting and was subsequently a far more rewarding experience.
The Captains is a curious beast. If you’re expecting a traditional documentary where Bill Shatner simply indulges in a standard Q & A with other actors that have portrayed captains within the Star Trek franchise, then you will be disappointed. The Captains is a horse of a different colour entirely. Throughout its ninety minute duration, this documentary veers from personal reflections on acting, muses upon the nature of fame and even touches upon contemplating one’s own mortality. It certainly wasn’t what I was expecting and was subsequently a far more rewarding experience.
Some viewers may see Mr Shatner as an egotistical one trick pony and this film as a colossal self-indulgence. I do not. I genuinely think that he is a passionate man who has wrestled with the pitfalls of international fame. He certainly is quite candid about times when his popular persona was a burden to him. Through the cross examining of his guests (and that is a very apt term at times) he highlights the parallels of what he has come to terms with. The documentary is somewhat erratic and eclectic yet through all its muddled musings does have points to make.
The interviewees are a curious bunch, to boot. If The Captains does anything, it is to highlight that an actors onscreen persona can often be radically different to their own. Kate Mulgrew discusses how the strong authoritative character she portrayed was the complete opposite of her in her family life. Avery Brooks could not be further from Benjamin Sisko if he tried. A talented pianist and an individual with a clear artistic temperament, his personal reflections are often extremely philosophical and on occasion impenetrable. Yet all of this contributes to the underlying narrative thrust of the documentary. Exactly what impact did being a “captain” have upon each actor.
The Captains is a little too long and languid for the casual viewer. A re-edit would certainly help make it more accessible such an audience. For hardcore Trekkies/Trekkers or those who have a fascination with actors, this documentary is informative and of merit. Bill Shatner is a potent personality. The scenes showing him interacting with fans at conventions and working the crowd are fascinating. I think that he genuinely feels for his audience. Certainly the influence of his fame has become clear to him. He appears to be conspicuously aware of being in his twilight years and wishes to use them as well as he can.
Wild Geese II (1985)
The fortune of British film producer Euan Lloyds took a turn for the worst after the success of The Wild Geese in 1978. Both his subsequent movies The Sea Wolves and Who Dares Wins were critical failures and subject to diminished box office returns. Therefore Wild Geese II was conceived in hope that a new addition to the franchise would prove financially successful and restore Mr. Lloyd’s reputation as a top British producer. Former Bond director, Peter Hunt, was brought on board to oversee the proceedings, along with original star Richard Burton. The screenplay was again by Reginald Rose and soundtrack composed by Roy Budd.
The fortune of British film producer Euan Lloyds took a turn for the worst after the success of The Wild Geese in 1978. Both his subsequent movies The Sea Wolves and Who Dares Wins were critical failures and subject to diminished box office returns. Therefore Wild Geese II was conceived in hope that a new addition to the franchise would prove financially successful and restore Mr. Lloyd’s reputation as a top British producer. Former Bond director, Peter Hunt, was brought on board to oversee the proceedings, along with original star Richard Burton. The screenplay was again by Reginald Rose and soundtrack composed by Roy Budd.
However the production soon encountered problems, due to Burton's ill health. His role had to be substantially re-written to accommodate his lack of mobility. Thus the concept of the sniper was conceived as a plot device. Burton's death in August 1984 was major impediment but the production was too far forward to be cancelled. So Edward Fox was quickly secured to play the role of Burton's brother, Alex Faulkner. Story has it that the actor took the role to finance an extension to his home. It is also rumoured that the second lead was to be played but Lewis Collins but the role was deemed too similar to that he played in Who Dares Wins. The character then eventually evolved into a vehicle for Scott Glenn.
Upon release Wild Geese II was a box office failure. The story about a plot to rescue Rudolph Hess from Spandau prison was intriguing but poorly executed. The casting of Laurence Olivier as Hess was a bold idea but doesn’t quite work. The action scenes are shot in a very unflattering style and seem very hastily assembled. The contrast between principle photography and second unit direction is quite noticeable, clearly indicating that the film had a troubled production. Yet despite such flaws it is not devoid of any redeeming qualities. Wild Geese II serves as an interesting "snapshot" of the Cold War and a partitioned Berlin. It also features British actor, Derek Thompson, coming to yet another unpleasant cinematic end.
Wild Geese II is a subtly different film from its predecessor. It is more of an espionage thriller than an action film. It really needs to be viewed on its own merit, rather than in a direct comparison to its predecessor. It touches on many aspects of mid-eighties world politics, some of which are still with us, while others have long vanished. Certainly the power of global media corporations is still a relevant topic today. Despite a preposterous premise and a rather stark production design, Wild Geese II is a curious but entertaining film.
Bubba Ho-Tep (2002)
Troy Duffy's The Boondock Saints desperately tries to be an instant cult classic, throwing in everything bar the kitchen sink to try and grasp that niche market status. However, Bubba Ho-Tep succeeds effortlessly with just an idea. The insanely plotted comedy horror, in which an ageing Elvis Presley battles an Mummy with help from former President John F Kennedy, strikes the right balance between satire and the ludicrous nature of its own premise. Horror-icon and underrated character actor Bruce Campbell gives an outstanding performance as "The King", spending his twilight years in the Shady Rest Convalescence Home. After the initial set up it’s not long be the audience is regaled with soul sucking cadavers, outsized insects and Elvis doing karate.
Troy Duffy's The Boondock Saints desperately tries to be an instant cult classic, throwing in everything bar the kitchen sink to try and grasp that niche market status. However, Bubba Ho-Tep succeeds effortlessly with just an idea. The insanely plotted comedy horror, in which an ageing Elvis Presley battles an Mummy with help from former President John F Kennedy, strikes the right balance between satire and the ludicrous nature of its own premise. Horror-icon and underrated character actor Bruce Campbell gives an outstanding performance as "The King", spending his twilight years in the Shady Rest Convalescence Home. After the initial set up it’s not long be the audience is regaled with soul sucking cadavers, outsized insects and Elvis doing karate.
Combining multiple genres, this creative and somewhat melancholic film explores themes such as fame, mortality and the way society treats the elderly. When done well comedy can make some very succinct social statements as well as entertain. By featuring such iconic characters, the movie makes some subtle digs at pop culture and the cult of premature death. However as this is a horror film there are still scares courtesy of the undead titular individual, as he preys on the old and vulnerable. Bubba Ho-Tep also has liberal helpings of killer dialogue from both Campbell and Ossie Davis, a black man who claims to be JFK. His change in ethnicity is all courtesy of a CIA plot.
Elvis: Ask not what your rest home can do for you. Ask what you can do for your rest home.
JFK: Hey, you're copying my best lines!
Elvis: Then let me paraphrase one of my own. Let's take care of business.
JFK: Just what are you getting at, Elvis?
Elvis: I think you know what I'm gettin' at Mr. President. We're gonna kill us a mummy.
Writer-director Don Coscarelli is quite candid about society’s treatment of the elderly, using Elvis's voiceover to move the narrative forward. "Get old, you can't even cuss someone and have it bother 'em. Everything you do is either worthless or sadly amusing." The proceedings are aided immensely by a superb score by Brian Tyler, which provides a great deal of emotional support. The overall result is a cinematic oddity that showcases Mr Campbell's impressive Presley impersonation, while exploring all possible historical references associated with the protagonists. Gags about Marilyn Monroe, Lyndon B Johnson and chocolate dingdongs, abound. Bubba Ho-Tep will certainly not be everyone cup of tea but will go down a storm with niche market film fans and admirers of director Don Coscarelli.
The Flight of the Phoenix (1965)
Gender representation in movies is a thorny issue at present. Certainly all male ensemble casts are a rarity these days. 12 Angry Men and John Carpenter's The Thing are two examples that spring to mind but by and large Hollywood still favours broad gender representation (if not equal status) for reasons of pure box office. However the all male cast of The Flight of the Phoenix simply reflects that nature of the oil industry at the time of filming and is not in any way a political statement. The absence of any romantic sub plot or any kind of sexual dynamics, allows the narrative to focus clearly on the theme of survival along and the psychological and emotional side effects.
Gender representation in movies is a thorny issue at present. Certainly all male ensemble casts are a rarity these days. 12 Angry Men and John Carpenter's The Thing are two examples that spring to mind but by and large Hollywood still favours broad gender representation (if not equal status) for reasons of pure box office. However the all male cast of The Flight of the Phoenix simply reflects that nature of the oil industry at the time of filming and is not in any way a political statement. The absence of any romantic sub plot or any kind of sexual dynamics, allows the narrative to focus clearly on the theme of survival along and the psychological and emotional side effects.
Veteran pilot Frank Towns (James Stewart) and navigator Lew Moran (Richard Attenborough) are flying a beaten up old transport from Jaghbub to Benghazi in Libya. On board are a motley group of oil workers and other assorted passengers. After encountering a sudden sandstorm the plane is forced to ditch in the desert. After an aborted attempt by some of the survivors to march to the nearest habitation, it soon becomes apparent that the food and water will only last a fortnight. With hope running out and petty squabbles increasing, the survivors must decide whether to pull together of fall apart.
Post war prejudice against the German plays an integral part in the Robert Aldrich' The Flight of the Phoenix. It was still a common mindset during the sixties, especially among those who had served. Therefore when Heinrich Dorfmann (Hardy Krüger) proposes to cannibalise the crashed Fairchild C-82 and build another plane to escape from the Sahara desert, it is met with scepticism among his fellow survivors. This is compounded by his cold scientific manner and logical thought process. He immediately chafes with Towns, a proud and old school flyer, who objects to his notion that the other men are simply a work force of expendable assets. The script by Lukas Heller cleverly never states each characters war record and leaves viewers to make up their own minds about their respective pasts.
Performances in The Flight of the Phoenix are universally outstanding due to the well-defined characters and tight screenplay. Ernest Borgnine excels as a psychologically disturbed foreman as does Ian Bannen as an irascible and sardonic oil worker. Peter Finch and Ronald Fraser play respectively a British Army Captain and a resentful Sargent. Their tenuous relationship quickly disintegrates under pressure, leading to potential murder through wilful neglect. It's all very powerful stuff and director Robert Aldrich makes no attempt to sugar the pill. The survivors skin burns and blisters. One injured man takes his own life in a particular moving scene which is sharply contrasted by Dorfmann's borderline callous indifference. Although not graphic, the movie is honest with its depiction of mental disintegration and death.
Like many other great films it is the little touches that embellish the story telling. Stewart's experience as a real life pilot makes his performance in the cockpit convincing. Attenborough's near hysterical laughter, when he learns Dorfmann's secret starkly depicts a man robbed of hope. The results of the Doctor’s and Captain’s negotiation with the Bedouin have a tragic inevitability about it. Aldrich directs with confidence. The artistic freedom and sensibilities of the times afforded him the opportunity to be honest and not have makes commercial concessions. A criticism I would level at the 2004 remake. The movie also benefits from physical effects rather than contemporary computer graphics, imbuing the arduous construction of the Phoenix with a tangible plausibility.
The Flight of the Phoenix is a movie with perennial themes. However these are enhanced when viewed within the context of the times. Aldrich makes a clear message that in desperate times, co-operation irrespective of personal likes, philosophy and dogma is the only practical option when facing disaster. It also explores the importance of hope and what can happen when that is removed. The movie is also a text book example of character acting and the importance of a strong screenplay. If a movie gets this right then the audience will happily follow the narratives twists and turns. Although its clichéd, they simply don't make them like this anymore. I think The Martian is the nearest I’ve seen to anything like The Flight of the Phoenix. It’s not because contemporary Hollywood lacks the talent. It is more of a case of that they lack the will.
Right at Your Door (2006)
I saw Right at Your Door upon its UK release in late 2006 and was impressed with the scope of the movie and the way it handled such an imposing subject matter. At the time the director Chris Gorak was still looking for a US distributor, which was proving somewhat difficult due to the subject matter and post 9/11 sensibilities. It was a full year before the movie finally got a limited theatrical release in North America. I recently saw the film again on UK network television and was further impressed with its exploration of a biological attack and the human cost. The movie has further relevance in light of current international events in the Middle East.
I saw Right at Your Door upon its UK release in late 2006 and was impressed with the scope of the movie and the way it handled such an imposing subject matter. At the time the director Chris Gorak was still looking for a US distributor, which was proving somewhat difficult due to the subject matter and post 9/11 sensibilities. It was a full year before the movie finally got a limited theatrical release in North America. I recently saw the film again on UK network television and was further impressed with its exploration of a biological attack and the human cost. The movie has further relevance in light of current international events in the Middle East.
Out of work musician Brad (Rory Cochrane) is at home when he learns of a series of explosions across Los Angeles, heralding a major terrorist attack. He attempts to drive down town to see if he can reach his wife Lexi (Mary McCormack) but is forced to turn back by the police. It is now apparent that the explosions are dirty bombs of some kind and that the ash from the burning buildings is potentially toxic. Brad returns home and seals himself in accordance with the authorities’ instructions. He is joined by Alvaro (Tony Perez), a maintenance man who was working at his neighbour’s house during the time of the attack. However matters are complicated when Lexi returns, apparently showing the symptoms of exposure to the toxins. Will Brad endanger himself by letting her in? Will she try to force entry into her home? Are the authorities trying to treat the public or are there more sinister motives to their strategy.
Director Gorak drives this contemporary survival drama with a tremendously brisk pace, highlighting the confusion, indecision and fear that accompany such a scenario. He makes very good use of overlapping dialogue, with radio and TV background chatter frequently providing further details on the nature of the attack. The main performances are very good and the characters are flawed, conflicted and very credible. It would have been far too much of a cop out to paint them as selfless martyrs. The movie also shows the blind and illogical nature of human emotions with a series of frantic phone calls between the central characters and their families. It shows how humans wilfully refuse to accept facts in an attempt to maintain a sense of hope.
The third act leads to a twist and possibly gimmicky ending but it does not undermine the overall narrative thrust of Right at Your Door. In the decade that have elapsed since the film's debut at the Sundance Festival, we have seen further evidence that the Government are not always well disposed towards their citizenry or doing the right thing. Consider the way Hurricane Katrina was handled and more recently the revelations about Project Prism. If anything the movies relevance has increased, irrespective of your personal politics. Overall Right at Your Door is a clever and concise directorial debut, which earned Chris Gorak a place on the Variety "directors to watch" list. Unfortunately this level of intensity and focus was conspicuously missing from his next film Darkest Hour.
Firefox (1982)
I read Craig Thomas's cold war novel Firefox in the spring of 1982 and was unaware that a film adaptation was in production at the time. Having enjoyed the novel immensely, I was pleasantly surprised at the quality of the adaptation. The screenplay stayed true to the story and large passages of the book made it directly into the films screenplay. Then there was the sublime casting of Clint Eastwood as Mitchell Gant, the veteran pilot suffering with Post traumatic stress syndrome. Even the author Craig Thomas approved. The movie proved to be very entertaining at the time (I was fourteen), with its action sequences and special effects.
I read Craig Thomas's cold war novel Firefox in the spring of 1982 and was unaware that a film adaptation was in production at the time. Having enjoyed the novel immensely, I was pleasantly surprised at the quality of the adaptation. The screenplay stayed true to the story and large passages of the book made it directly into the films screenplay. Then there was the sublime casting of Clint Eastwood as Mitchell Gant, the veteran pilot suffering with Post traumatic stress syndrome. Even the author Craig Thomas approved. The movie proved to be very entertaining at the time (I was fourteen), with its action sequences and special effects.
I recently discovered that Firefox is available on Blu-ray. The current US release has the movie paired with Heartbreak Ridge as part of a Clint Eastwood “double bill”. This region A disc features the shorter 124 minute print of the film. However there is a region B Norwegian Blu-ray available that has the longer 136 minute cut of the movie. I always this recommend version due to is expanded narrative and exposition. For those curious about the differences between the two versions, movie-censorship.com has a comprehensive photographic breakdown.
However regardless of which copy you see, there are some fundamental problems with both blu-ray transfers. The special effects sequences involving the MiG-31 utilised a process known as reverse bluscreen photography, pioneered by legendary effects supervisor John Dykstra. The high definition transfer unfortunately shows great deficiencies in the process and reveals an inordinate amount of image grain. Effects sequences such as AA missile launches and the rearward defence pod are also poorly realised, looking like just coloured cel animation. However the primary flying scenes featuring the MiG-31 still have a great sense of speed and there is some solid miniature work.
The main plot of Firefox is straightforward. The Russians have a plane that is technically superior to anything in the West, so the US intelligence services plan to steal one. Performances are low key and functional. Clint Eastwood does much to carry the film and Kenneth Colley is solid as Colonel Contarsky. Nigel Hawthorne is somewhat miscast as the dissident scientist and allegedly fell out with director Eastwood over his habit of filming rehearsals and using them as final takes. Firefox also features a very odd score by veteran composer Maurice Jarre which blends synthesiser based pieces with a traditional orchestral score. It often doesn't work and sits very uncomfortably with a lot of the movie. Yet the final suite of music played over the end credits is very engaging.
Firefox is very much a product of its time both cinematically and politically. Furthermore Clint Eastwood is a very lean film maker and some may find his approach to the narrative insufficiently exciting. Yet despite the movies age and the fact that the new hi-def transfer is unflattering to the optical process work, the real star of the movie is still the MiG-31. The design which is centred on stealth technology still looks plausible and extremely elegant. Regardless of the image grain, the sight of the plane flying over the ocean with the sunlight reflecting off its fuselage is still very impressive. Firefox is certainly not one of Clint Eastwood finest movies but it is one of his most curious, as it was a radical departure from the cop dramas and action comedy vehicles he had produced up to the time.
The Phantom Tollbooth (1970)
I first saw The Phantom Tollbooth during the early seventies, more than likely on a Sunday afternoon. I enjoyed it at the time but being a child its subtleties were lost on me. However I did get a distinct feeling that there was more to the movie than met the eye and it stuck in my mind as being different to the other animated films that I had seen at the time. Forty years on, I am now familiar with the legacy of Chuck Jones and the significance of his work. So when I recently acquired a copy of The Phantom Tollbooth on DVD I was very keen to revisit it and view it through the eyes of an adult.
I first saw The Phantom Tollbooth during the early seventies, more than likely on a Sunday afternoon. I enjoyed it at the time but being a child its subtleties were lost on me. However I did get a distinct feeling that there was more to the movie than met the eye and it stuck in my mind as being different to the other animated films that I had seen at the time. Forty years on, I am now familiar with the legacy of Chuck Jones and the significance of his work. So when I recently acquired a copy of The Phantom Tollbooth on DVD I was very keen to revisit it and view it through the eyes of an adult.
Made by MGM in 1969, The Phantom Tollbooth sat on the shelf for over a year due to internal studio problems. It was finally released to an indifferent public a year later. The story remains relatively faithful to Norton Juster's book, but clearly has the hallmark of animator Chuck Jones stamped on it along with a lot of late sixties ambience. The songs are clever and engaging although the title theme is very sub-Burt Bacharach. The movie starts with a live action opening sequence involvingMilo, (Butch Patrick), a bored young boy who lives in San Fransisco. He travels via the titular tollbooth to the Kingdom Of Wisdom where he must reunite the feuding realms ofDictionopolis and Digitopolis by rescuing the Princesses Rhyme and Reason from the Castle In The Air.
The transition from live action to animation is competently made and the film has a very experimental style and is artistically literate. The main characters are intriguing being either literary or mathematical idioms. There is Tock The Watchdog, Mr Humbug, The Spelling Bee, The Whetherman and his sister, The not so wicked Which. They're all a very likeable bunch (I defy you not to warm to Tock). The narrative reflects the positive outlook of the Kennedy era (the book was written in 1961) and infers that a balance between knowledge, science and art is the path to happiness and cultural harmony. However the stories greatest assets are also its Achilles heel. The puns, metaphors, word play and conundrums may well alienate the casual viewer.
However I am of the opinion that cinema is a two way street and that the viewer cannot always be spoon fed. The Phantom Tollbooth is an entertaining and thoughtful example of family entertainment, as well as a valuable historical window into the social attitudes of the time. The movie features a wealth of the best voice artists from the time such as Mel Blanc and Daws Butler as well as some beautiful word play ("You didactic drone") and credits its audience with both an imagination and a brain. If you get a chance to see it, then give it a go. If you have kids, then watch it with them and if they don't like it, hit them with a big dictionary while singing "Time is a Gift" (which is the best song in the movie).
Lake Mungo (2008)
Do not be fooled by the marketing and artwork for Lake Mungo. It is not a found footage movie but in fact a faux documentary. If you are looking for cheap scares, loud noises and unpleasant imagery, then you will be disappointed. Lake Mungo is not your standard exploitation fodder. If however you like well constructed movies that create a genuine sense of disquiet, then Lake Mungo is a must see. Once again Australian cinema has managed to produce an innovative and thoughtful entry to a popular sub-genre. The film demonstrates a great understanding of the mechanics of a ghost story and how they should be handled.
Do not be fooled by the marketing and artwork for Lake Mungo. It is not a found footage movie but in fact a faux documentary. If you are looking for cheap scares, loud noises and unpleasant imagery, then you will be disappointed. Lake Mungo is not your standard exploitation fodder. If however you like well constructed movies that create a genuine sense of disquiet, then Lake Mungo is a must see. Once again Australian cinema has managed to produce an innovative and thoughtful entry to a popular sub-genre. The film demonstrates a great understanding of the mechanics of a ghost story and how they should be handled.
The story centres around the Palmer family whose teenage daughter Alice drowned on a family holiday. The movie is shot in the style of a TV documentary, with talking heads, home video footage and recorded phone calls to the emergency services. The performances are very understated and very plausible. The opening scenes quickly establish a very credible depiction of a family coming to terms with loss. Performances by the three leads (Rosie Traynor, David Pledger and Martin Sharpe) are universally good as the Palmers. Shortly after Alice's funeral paranormal activity starts to happen within the house. The Mother is plagued by a recurring dream and the Father sees a manifestation of Alice. Matters are further confused by some photographic evidence that may indicate that Alice is not dead.
All these events are handled in a very understated and measured fashion. As the story progresses and the strain takes its toll on the Palmer family, we are introduced to a medium Ray (Steve Jodrell). Unlike other movies, this is a very sympathetic depiction of the profession and it adds a very different aspect to the narrative. The interview sessions and seances do not necessarily produce the results the viewer expects but like so many elements of Lake Mungo, these subtle sub-plots all have relevance and are tied up as the story progresses. There are several false positive events that occur as the film proceeds (one that particularly reminded me of Ghostwatch) which muddy the waters. This really helps add a credible element of doubt with the audience.
The pivotal plot moment occurs when Alice's Mother discovers her daughter’s secret. It is a terribly sad turn of events and it is purposely ambiguous in some of its details. One of the major themes of Lake Mungo is that of the transition of Alice Palmer; from a happy, outgoing teenage girl to a desperate and burdened soul. As well as the unsettling supernatural atmosphere, there is a great sense of tragedy to the movie. It also plays upon a parents fear of being powerless to help their child. Furthermore, even as the story reaches a point where you think it’s done, there are still several further twists in store. These widen the scope of the events and introduce some bolder ideas.
Lake Mungo is a film about grief, secrets, unfinished business and predestination. It conclusion is satisfactory and very melancholy. Alice Palmer is a very sympathetic character and there seems no justification for what happens to her. Like many things that occur in life, there is a great deal that is not explained. This is not because the writers are trying to be manipulative but because this is just the way of world. Director Joel Anderson maintains a steady pace and does not take liberties with the viewer’s suspension of disbelief. As the credits roll over a montage of photographs there is a further surprise, implying that the false positives we saw earlier were in fact genuine. It is a clever embellishment to end on and a validation of the movies merits.
Remo Williams: The Adventure Begins (1985)
Remo Williams: The Adventure Begins is based on "The Destroyer" pulp novels books from the seventies. Written by Richard Sapir and Warren Murphy, the stories catalogue the adventures of Remo Williams, an ex-cop brought back from the dead and trained in the obscure (and fictitious) Korean martial art of Sinanju. This esoteric fighting style enables an exponent to dodge bullets, cripple an opponent with blows to nerve endings and run across a beach without leaving footprints. On paper this was ideal material for an action movie franchise that could potentially fill a gap in the market between Bond movies. Yet this 1985 film struggled to find an audience upon release.
Remo Williams: The Adventure Begins is based on "The Destroyer" pulp novels books from the seventies. Written by Richard Sapir and Warren Murphy, the stories catalogue the adventures of Remo Williams, an ex-cop brought back from the dead and trained in the obscure (and fictitious) Korean martial art of Sinanju. This esoteric fighting style enables an exponent to dodge bullets, cripple an opponent with blows to nerve endings and run across a beach without leaving footprints. On paper this was ideal material for an action movie franchise that could potentially fill a gap in the market between Bond movies. Yet this 1985 film struggled to find an audience upon release.
Remo Williams: The Adventure Begins is both a curious and incongruous movie, containing elements of spoof as well as action. Perhaps it is the unusual tone that failed to engage viewers. It’s shame because there’s a lot to recommend and enjoy. Former Bond director Guy Hamilton manages the proceedings confidently and elements of Christopher Wood’s script are quite witty and entertaining. The underrated Fred Ward is very good as Remo Williams, as is Joel Grey as Chiun, his soap opera-loving Korean mentor. Some of the film's best scenes are there characters interactions. Carl Fullerton's make up effects turning Joel Grey into an aged Korean are outstanding. The action set pieces are very good, particularly a fight on the Statue of Liberty which was being restored at the time of filming. Again I’d like to highlight the fact that these are genuine stunts.
Unfortunately there are also weaknesses in the production. Kate Mulgrew's Major Rayner Fleming is given precious little to do and the villain of the piece, evil industrialist George Grove (Charles Cioffi ) is hardly an impressive adversary. Also some of the editing used to highlights Chiun's ability to dodge bullets and confuse his foes is poorly implemented. Instead of creating an effective illusion of speed and dexterity it simply looks “choppy”. But none of these aspect are sufficient to spoil the film overall. The humor of the film does not derail the preceding’s and there are a few grim sequences that are curious to see in a PG-13 rated move. This was a new rating at the time of release and had yet to fully find its feet.
Remo Williams: The Adventure Begins (retitled Remo - Unarmed & Dangerous for the British market) could in different circumstances become an interesting franchise. Unfortunately the prevailing tastes of the time wanted hard “R” rated action movies with high body counts. The frivolity and obvious seventies origin of the source material were deemed old hat. Casting a white actor to play an ethnic character is also anachronistic. It’s a shame really. Remo Williams: The Adventure Begins is no masterpiece but it’s not the disaster that some would have you believe. The truth lies somewhere in between. The film asks you to go beyond the usual limits of the suspension of disbelief. However due to the enjoyable dynamics between the two leads, I for one am happy to go there.
Spaceballs (1987)
There are some movies that you just never get around to seeing and they can remain an unknown quantity for many a year. If any of these films were a big event at the time, or have become a major part of pop culture, then catching up with them can presents its own set of problems. For example the status of some cinematic classics or cult movies inevitably raises expectations, which then may be hard to meet. Then there can also be pressure not to fly in the face of popular consensus, leaving the viewer obliged to like a film or find merit in some way. I had this experience myself recently when I finally caught up with Spaceballs.
There are some movies that you just never get around to seeing and they can remain an unknown quantity for many a year. If any of these films were a big event at the time, or have become a major part of pop culture, then catching up with them can presents its own set of problems. For example the status of some cinematic classics or cult movies inevitably raises expectations, which then may be hard to meet. Then there can also be pressure not to fly in the face of popular consensus, leaving the viewer obliged to like a film or find merit in some way. I had this experience myself recently when I finally caught up with Spaceballs.
Mel Brooks already amassed an impressive body of work when he made this movie in 1987. So I was expecting Spaceballs to be of his usual high standard. Instead I found myself watching a rather weak Star Wars parody (with a few nods to other science fiction classics), littered with poor puns, childish humour and tortuously contrived sight gags. It raised a smile but little more and certainly paled into into insignificance compared to other genre satires such as Galaxy Quest or Family Guy Star Wars Trilogy. I really felt that this movie suffered from "the emperor's new clothes" syndrome, due to its pedigree. The late John Candy can usually lift most movies by his presence but not here. Rick Moranis as Dark Helmet really is the only character of any note.
I was actually far more interested in the films production values which were high for a comedy. There were some rather good optical effects and outstanding matte paintings from Apogee Inc. There's a nice shot of a space diner with various intergalactic Winnebagos in the parking lot. One of which is none other than the Millennium Falcon. It's a shame that equal attention wasn't spent on the screenplay. Perhaps Brooks thought that the very act of satirising Star Wars would be funny enough in itself, as it was considered somewhat sacrosanct by fans at the time. Spaceballs was after all only made four years after Return of the Jedi.
After finally catching up with Spaceballs after twenty nine years I would argue that this is far from the classic that some ardent fans claim it to be. Perhaps the term cult may me more appropriate in this case. My viewing experience has certainly confirmed once again that broad popularity is no guarantee of a good movie. Furthermore fond affection by fans should not be construed as a definitive litmus test. Humour is a very subjective thing and for me Spaceballs was somewhat lacking. However that not to say it’s a terrible film and the very points that I struggled with may well delight others. Perhaps the lesson is that when viewing a film that has an established status, try your best to adjust your expectations and take into account, historical context and the fan factor.
Breakheart Pass (1975)
Breakheart Pass is a curious hybrid film even by the experimental standards of the seventies. Written by Alistair MacLean, it encompasses both the western and whodunit genres with a twisting tale of cholera epidemics, fugitive gunmen, corrupt politicians and Indian uprisings. Starring Charles Bronson at the peak of his career, this often overlooked film has many virtues. Its production design has an air of authenticity and the plot has more than a hint of Agatha Christie, endearing the film to both the casual viewers and more seasoned action fans.
Breakheart Pass is a curious hybrid film even by the experimental standards of the seventies. Written by Alistair MacLean, it encompasses both the western and whodunit genres with a twisting tale of cholera epidemics, fugitive gunmen, corrupt politicians and Indian uprisings. Starring Charles Bronson at the peak of his career, this often overlooked film has many virtues. Its production design has an air of authenticity and the plot has more than a hint of Agatha Christie, endearing the film to both the casual viewers and more seasoned action fans.
Breakheart Pass is very much a product of its time. Director Tom Gries, a veteran of many TV series, tackles the plot in the manner of a police procedural drama. The pace is measured and a stark contrast to contemporary film making. The cast is full of talented characters actors such as Ben Johnson, Ed Lauter and Richard Crenna, playing larger than life protagonists. The action scenes are effectively done, as this was the final film for legendary stunt man Yakima Cannutt. Lucien Ballard's cinematography is both striking as well as atmospheric and Jerry Goldsmith rounds off the movie with a lively and memorable score. All things considered Breakheart Pass has a good quality pedigree.
One particular facet of Breakheart Pass that is of note and worth reflecting upon is its abundance of physical effects and stunt work. If this was a contemporary movie, most of these sequences would be realised through the use of CGI. Back in 1975 these sorts of scenes were done for real. This makes the fight on the train roof over the trestle bridge all the more impressive. Two stunt doubles did this for real. Also the train carriage crash is also done without the use of miniatures or photographic effects. The proliferation of computer effects in the last two decades does seem to have diminished the concept of genuine set pieces and cinematic spectacle.
The western movie was in decline by the middle seventies and films such as Breakheart Pass strived to bring a fresh perspective to a tired genre. The film has a few flaws such as the episodic nature of the plot and the clichéd "cavalry to the rescue" ending but overall this is an honest adaptation of a mainstream bestseller. Alistair MacLean was the mainstay of many a Hollywood all-star action movie for over a decade with the likes of The Guns of Navarone and Where Eagles Dare. Breakheart Pass showcases why this was the case and all reiterates why Charles Bronson was so good at these minimalist anti-hero roles.
Blaugust – Thirty One Days of Movie Reviews
Blaugust is an annual writing event run by Belghast, designed to encourage bloggers to post content more often. Its original remit was to publish blog articles every day for a month but over the years it has become somewhat more flexible. When I relaunched Contains Moderate Peril a year ago, I decided to participate, despite my long term plan of reducing my content output. This year I’ve decided to join in yet again, although I shall be changing the focus of my writing. At present I’m not particularly inspired to write about gaming. Star Trek Online and Overwatch are the only titles I’m currently playing and I don’t have enough to say about either of those games to sustain a month worth of posts. So I’ve decided to return to my primary passion, cinema and the film industry.
Blaugust is an annual writing event run by Belghast, designed to encourage bloggers to post content more often. Its original remit was to publish blog articles every day for a month but over the years it has become somewhat more flexible. When I relaunched Contains Moderate Peril a year ago, I decided to participate, despite my long term plan of reducing my content output. This year I’ve decided to join in yet again, although I shall be changing the focus of my writing. At present I’m not particularly inspired to write about gaming. Star Trek Online and Overwatch are the only titles I’m currently playing and I don’t have enough to say about either of those games to sustain a month worth of posts. So I’ve decided to return to my primary passion, cinema and the film industry.
So I’m hoping to write about a broad selection of films from multiple genres over the month of August, depending on my personal circumstances which are somewhat fluid at present. I’m going to try and avoid mainstream contemporary blockbusters and focus more upon older, less well known titles. I often find when reading movie reviews by my peers that they don't seem to cover material from before the nineties. I personally like movies from the silent era right the way to the present and intend to explore films from all decades of the twentieth century. Hopefully in doing so, I can encourage some of my colleagues to broaden their cinematic horizons and discover some hidden gems.
This rekindling of my love of film is partly due to a list that film maker Edgar Wright published recently in which he named a thousand films that he has seen and considers to be of note. Many of those listed are favourites of mine and it makes for a welcome change from the usual top one hundreds movie articles that critics frequently produce. Mr Wright’s list has cinematic classics and art house films, cheek by jowl with exploitation movies and cult classics. It also reminded me that film is a subject I still have plenty to talk about and that it can provide a wealth of material for me to dissect and debate. So if all goes to plan I may well be able to write thirty one movie reviews over the forthcoming month, as well as some posts about the wider industry.
Cosmetic Uniform Controversy in Star Trek Online
Star Trek Online like many MMOs uses multiple in-game currencies. Reputation, fleet equipment as well as cosmetic items are purchasable using a variety of energy credits, dilithium and reputation tokens. Cryptic have therefore placed various restrictions governing these items to ensure that the game economy remains functional. However many players still amass sizeable quantities of these currencies overtime; especially those with multiple alts and sufficient time to invest in the game. At present although dilithium ore can be earned in multiple ways, a daily cap allows only 8,000 units to be refined each day. It is refined dilithium that can be used as a tradeable currency.
Star Trek Online like many MMOs uses multiple in-game currencies. Reputation, fleet equipment as well as cosmetic items are purchasable using a variety of energy credits, dilithium and reputation tokens. Cryptic have therefore placed various restrictions governing these items to ensure that the game economy remains functional. However many players still amass sizeable quantities of these currencies overtime; especially those with multiple alts and sufficient time to invest in the game. At present although dilithium ore can be earned in multiple ways, a daily cap allows only 8,000 units to be refined each day. It is refined dilithium that can be used as a tradeable currency.
Five years on from its launch STO has a sizeable player base with a high percentage of veteran players. Because of the nature of the franchise, a lot of these are lifetime account holders who invest heavily in the game and make it their personal gaming focus. In a nutshell, a lot of folk have a ton of dilithium. Farming across multiple toons is a common practise and even I have a modest supply that is regularly topped up via four characters. So naturally the game developers from time to time, create new dilithium sinks as a way of reducing the surfeit of this in-game resource. Today Cryptic did just that and added some cosmetic outfits to the dilithium store; items that had previously been available in the Zen store and purchasable for real money.
As ever with matters of this nature, the decision has been met with disapproval from some quarters. The prices for these cosmetic uniforms range from one to two million dilithium. That equates to approximately 2,482 Zen at current exchange rates which would cost about £17/$22.50 in real money. The fact that these purchases are character bound and not unlockable across an entire account has also met with criticism. However it should be noted that cosmetic items and ships are already purchasable from the Lobi store for similar prices with comparable criteria, which does somewhat mitigate such complaints.
I personally have no objection to dilithium sinks of this nature and it can be cogently argued that nothing currently on sale in the dilithium store is essential to play STO. Perhaps Cryptic could offer a wider variety of items, such as some of the limited edition ships that were exclusively available from previously events. Items of this nature may well be perceived as better value than cosmetic uniforms. However offering previously exclusive items can similarly antagonise a percentage of the player base, proving yet again that you cannot please everyone in the MMO genre. Ultimately this particular “drama” will pass with time, like most others and do no major harm to the game. Furthermore the need for a dilithium sink will continue to occur through STO’s lifecycle.