Showing posts with label Michael Madsen. Show all posts
Showing posts with label Michael Madsen. Show all posts

8/10/2009

Blu-ray Review: Green Lantern: First Flight (2009)



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The Green Lantern: First Flight

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Although many individuals would be known as the official DC Comics Green Lantern throughout its history from its origins during the Golden Age of Comics in the 1940s up through its many evolutions, test pilot Hal Jordan was the one selected for this new Warner Premiere.

Having also been "reborn" in the line of comics, it's Jordan who was originally
part of what's become considered the Silver Age of the comic movement,who is showcased in this superb seventy-seven minute feature length PG-13 production from Warner Brothers and DC Comics and voiced by Law & Order: Special Victims Unit actor Christopher Meloni.

Despite being given a contemporary storyline from scripter Alan Burnett (who has taken home four Emmy Awards for his writing in the past), like the previous Warner Premiere that came before in the form of the brilliant Wonder Woman also from director Lauren Montgomery, we're offered an origin tale.

And considering some of the main ingredients that comprise the Green Lantern mythology circa Hal Jordan, even before I began digging for more information about the superhero, it wasn't too hard to guess the era in which he began gracing the pages of DC comic books. Debuting in the Fall of 1959, just before the dawn of the space race, Jordan's occupation as a test pilot made him the ideal candidate for the task of overcoming fear on a regular basis.



And similarly the series also played with other trends and issues facing society such as the rise in popularity of science fiction films filled with alien life and more importantly some in which the aliens were shockingly-- to ticket buying suburbanites-- portrayed as far more peaceful in comparison to the humans who were capable of dropping bombs on one another.



Set during the Cold War scare and following the devastation of Pearl Harbor and World War II as well as the McCarthy witch-hunts and communist red-scares-- all of these issues find their way into the Green Lantern series as, unlike the lone, existential Batman, Green Lantern is able to and cheerfully hopeful to conform and work with others whenever possible as part of the intergalactic police-like force.

Similar to the other first-class Warner Brothers graphic novel adaptations in the DC Universe Animated Series of films, every frame is dripping with the most beautifully vivid artwork and I was thrilled that this time around I had my first opportunity to witness one in Blu-ray, having felt that director Montgomery's Wonder Woman was one of the best animated direct-to-disc features of the year so far.

While I wasn't as overly engrossed with this particular storyline since-- following the Roman and Greek mythology tinged Woman, Green Lantern seems a bit weak-- the intricacy of the animation, the fast-paced cinematic storyboarded action sequences and thankfully straightforward origin story make this one approachable for newbies including this reviewer.

It begins as Jordan's metamorphosis does as well when his flight simulation goes wrong and he finds himself crashing in the desert where he comes upon the dying alien, Abin Sur. When the alien's unusually powerful green ring "chooses" Jordan, he's told by Sur that it's no accident and Jordan becomes the first human ever selected by the ring to become a member of the Green Lantern Corps.



However, finding the ring and saying you're a member isn't as easy as that or it'd be essentially the superhero version of finding a prize in a box of Cracker Jack so he's quickly put on trial by the superior Guardians of the Universe (who in my eyes resembled what would have happened if the Ewoks and Yoda had had a baby... except, you know one that was blue).

Although Jordan is no stranger to the idea of on-the-job probation since his uncle was a cop, he's amazed to hear how prejudiced the Guardians are about the human race, as they note that the humans are so crude, base, and untrustworthy that it's a wonder they've lasted this long.



Informing Hal that humans are beneath them-- he's stunned when the experienced Lantern Sinestro (voiced by Victor Garber) offers to mentor Hal for awhile to keep an eye on him. Additionally, this decision annoys the alien character voiced by Michael Madsen since technically he's supposed to be the new trainer of Lantern members who are assigned to patrol one of the 3,600 sectors of the universe.



Grateful for Sinestro's help, Hal soon has second thoughts when Garber relishes in the line delivery that he likes humans but as he suddenly switches tone, he chides Hal, "you are on sacred ground, Earth boy. I own your ass" before the night becomes an animated version of Training Day when he'll extract information from a witness by any means necessary.

Making the most out of its PG-13 rating-- although it is violent throughout, more in the display of blood and in one particular Gladiator like sequence where a Lantern finds themselves impaled, mostly this film milks that rating in the profanity department which sometimes fits the characters and other times just makes you laugh in spite of yourself since it feels a bit thrown in simply "because they could."



Plot-wise, Green Lantern never challenges as there's a twist you see coming a mile away, especially given the name of the character and it occurs slightly past the thirty minute mark. And after this moment takes place, the rest of the film seems to follow that same thread for forty seven more minutes as other characters slowly get a ticket to the same clue bus.



Although to his credit, Burnett tries to get some unique mileage out of it by introducing the "yellow element" that weakens the Green Lantern Corps, which seemed like an interesting play on the colors involved to make green with blue as the superiors and yellow as the weakness.

However, one structural flaw involved the rushed explanations of key items including the Energi-Rod and a few plot twists that circled back to the Abin Sur arrival on Earth which made me wish that more time had been spent showing these events and less time just inserting "oh, by the way" monologues since, when it comes to comics, the visual presentation should be the driving force behind the telling of the story.

In this sense, at times it reminded me of a joke someone has just learned and is still practicing-- forgetting vital information needed for the punchline to work and then halfway through, realizing it as they burst out with "wait a minute, wait a minute, the guy was wearing clown shoes" before hoping we can just magically let all this flow ourselves.



Overall, it's successful and it does flow but every so often, the film plays as though important seeds of information were dropped into the script way too late and it may have helped to have known your Lantern beforehand just to have had the source there to assist in sheeding a bit more light on details while you experienced the First Flight.



Still, the work is one of beautiful clarity that proves once more that animation is best appreciated on Blu-ray disc along with enhanced TrueHD sound (and Dolby Digital options) and the film itself is delivered in full 1080 pixel widescreen that fills your screen although some of the special features did resort to a standard definition level.

Also offering fans the option of a PC digital download (unfortunately one that's not compatible with Apple or iPod devices, however), the Blu-ray boats more than four hours of extras including extensive behind-the-scenes featurettes. Likewise it serves up five bonus cartoons selected by the DC animation legend and film's producer Bruce Timm, an interview with New York Times best-selling writer Geoff Johns who analyzes the mythology of the series he's helping to rebirth, a Blu-ray exclusive focusing on the importance of ring symbolism in literature, glimpses at three other DC Universe titles, and additional tidbits.



However, fans including this reviewer whose favorite DC Comics character (or just plain superhero for that matter) happens to be Batman will want to jump directly to an exclusive sneak peek at the next title in the DC Universe line-- Superman/Batman: Public Enemies which looks unbelievably impressive.

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4/07/2009

New on DVD & Blu-ray for the Week of 4/5/09

Jen's Pick of the Week:

Doubt






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2010: The Year We Make Contact (Blu-ray)



Above the Law (Blu-ray)



American History X (Blu-ray)



Bedtime Stories



Britney: For the Record



Cleopatra: Universal Backlot Edition-- 75th Anniversary Edition



Collateral Damage (Blu-ray)



The Day the Earth Stood Still (2008)



Disney Animation Collection 1: Mickey & Beanstalk



Disney Animation Collection 2: Three Little Pigs



Disney Animation Collection 3: Prince and the Pauper



Donkey Punch



Doubt



House



I.O.U.S.A.



No Country for Old Men (Blu-ray Collector's Edition)



Not Easily Broken



One Missed Call: Final



Point of No Return (Blu-ray)



Pre Code Hollywood: The Collection



Scooby Doo & the Samurai Sword



Swamp Devil



The Tale of Despereaux



Tango & Cash (Blu-ray)



TCM Spotlight: Doris Day Collection



The Wedding Singer (Blu-ray)



Yes Man



Yo Gabba Gabba! New Friends



DVD Review: House (2007)

DVD & Video-on-Demand
Check-In Begins
Promptly At Sundown
On 4/7/09





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Welcome to Horror Movie Writing 101. In addition to the audience favorite “freaky little kids” paradigm, one of the most tried-and-true set-ups for the “scream and flee” genre involves gathering a group of strangers who having taken a wrong turn off the main road, gotten lost, and make the less than intelligent decision to ask the creepiest dude they can find for directions.

Usually, the faux kindly stranger is personified by a trucker, a cop, or a gas station attendant who stares a tad too long at the female counterpart of the bickering couple (or woman in a group) before the filmmakers decide to throw them—along with some other annoying folks-- in a house or similar structure from which they cannot escape.



Of course, it helps if you stack the deck with as many wild cards as possible by giving us an obligatory Carrie-like sermon spouting, screw-loose Sunday school teacher-style caretaker run amok who shares the place with her disturbed son who seems as though he could be the President of the Norman Bates fan club.



In addition, the characters who find themselves in this predicament are often dealt a hand that adds in the requisite past trauma usually involving the death of a child or relative. So inevitably, it’s this “elephant in the room” that our protagonists—only identifiable as the ones who scream and run from those out to get them rather than based on any real sympathy—must somehow overcome while fending off evil. Needless to say, you put all these together and wham, you’ve got yourself a horror movie.

Adapted from best-selling supernatural authors Ted Dekker and Frank Peretti‘s novel by screenwriter Rob Green for director Robby Henson-- the run-of-the-mill and easily forgettable House makes its way to DVD on Tuesday, April 7 from Lionsgate.



Incidentally the same studio that traditionally specializes in first-rate modern-day horror, the arrival of the Christianity tinged, trippy House (which may only be of interest for its bookended turns by Michael Madsen) follows the same studio’s other thinly disguised Christian ghost tale The Haunting in Connecticut starring Michael’s sister, the Oscar nominated Sideways star Virginia Madsen.

While The Haunting in Connecticut left much to be desired (although it seemed to tap right in to the same New Age escapist creepy fare Knowing which American audiences made the top box office champ during its opening weekend) -- at least in the case of Haunting it takes a while to realize just how bad it is but even then, it remains watchable.

Unfortunately, the same cannot be said for House which seems to borrow from the same playbook as 1408, The Shining, Carrie, Vacancy, From Dusk ‘til Dawn, Psycho, The Haunting, and Identity. But instead of managing to tap into what made each of those films work, whether it was John Cusack’s one man show in 1408, the twist in Identity, or the Panic Room-style “what would you do?” questions you asked yourself in Vacancy, House decides the only way to separate it from its overly familiar structure is to layer on as much Christianity as possible in ways that treat the audience like they were captive Sunday School students.

Instead of weaving in the layers of repentance or atonement more subtly, screenwriter Green and director Henson use the thickest paintbrush they can find in their Left Behind infused version of Psycho by making the main couple (Reynaldo Rosales and Heidi Dippold) have to fight the devil and sins of their past in order to make it to the light where they can become born again.



The one “saving grace” (if you will) of the film is in its stellar special effects production values which seems to be where the filmmakers focused all of their attention in lieu of perhaps sending the script back for yet another much-needed rewrite.

Admittedly-- having not read the book by Dekker and Peretti-- I can't say that this interpretation was precisely what they had in mind or in their novel if they were far better at trusting the intelligence of their audience to refrain from beating us over the head with what at least in filmmaking form seems to be an overt and condescending (even to the devout) Christian agenda.



However, the fact that the writers serve as co-producers does indeed send some warning bells and if this storytelling approach was exactly what they had in mind, I can only hope that next time around they’ll give us characters with whom we can actually identify instead of Horror Movie 101 types, therefore helping to ensure the audience will keep the faith in what they’re trying to say.

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10/27/2008

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10/24/2008

Hell Ride (2008)






In one of the many featurettes stacked onto the DVD release of Hell Ride, most likely hoping to make up for the feature-length train wreck that is the main film itself, writer/director/producer and star Larry Bishop shares that "if you make a biker movie and your family is still talking to you, you haven't made a biker movie." To Bishop-- a biker B-movie "icon" and star of such decades old films as Chrome, The Savage Seven and Hot Leather-- the proof you've made a successful "biker movie" is when "everybody stops talking to you." While admittedly, sure that may be the case but when we're talking about Hell Ride, it's probably because the film is so bloody awful that people will instantly want to walk in the other direction to disassociate themselves from Bishop any everyone else involved with this Ride through movie-going Hell.


Something tells me he won't exactly be in line for an AFI Lifetime Achievement Award or a spot cozying up to James Lipton on Inside the Actors Studio. And while obviously that's be the the worst reaction for a bad-ass testosterone biker movie, Bishop's assertion that shocking the hell out of everyone means you're successful sounds a lot like the school bully trying to justify why nobody wanted to come to their birthday party. Simply put, maybe he's just a self-important bully himself.

And while I hesitate to call names-- in the same featurette, he justifies the endless parade of naked silicone enhanced skanks delivering lines that sound like they belong in really bad Penthouse letters by comparing one such nude to a Modigliani painting. Yeah, dry that one out and you can fertilize the lawn as they say in Ferris Bueller. No, instead of celebrating the female form, we have cinematographer Scott Kevan filming these women in a way that would even make the horny cameramen from American Bandstand and Girls Gone Wild have second thoughts as they film very young women wrestling in mud, delivering horrid come-ons that sound uninspired (well considering they're uttered to men like Bishop, Michael Madsen, David Carradine, and Dennis Hopper, let's just say they definitely had to be imagining others for motivation), and invite the grisly Bishop in for a group orgy even though their combined age is probably still younger than their director. Generally the "babes of Hell Ride" as another featurette describes them get treated as though they were less than the men's coveted bikes. While the babes are interchangeable, the motorcycles are not for as the back of the box promises, "the women are hot, [and] the bikes are even hotter."


The barely comprehensible plot centers on the All-American idea of revenge as Bishop's character Pistolero (no, I'm not making this up) keeps a more than thirty year old promise to a gunned down woman by seeking bloody justice against the rival gang, The 666ers but any attempt to keep us involved is lost in the ridiculousness of the entire film. Conceived as a vanity project by both Bishop and his huge fan and co-producer Quentin Tarantino to-- as the press release notes-- "make up for the lack of true hardcore biker flicks over the last few decades," when Bishop claims in the same making-of featurette that he didn't care what anyone thought of the film except for Tarantino, we realize that may have been Hell Ride's undoing. Besides, was anyone else aside from Tarantino and Bishop really missing hardcore biker flicks that much? Easy Rider and The Wild One still hold up quite well so why take us down this horrific path of excess and waste?


With dialogue that sounds like recycled Tarantino as a character states "something is rotten in the state of Pistolero" which is a play on Shakespeare's Hamlet that's found its way into other Tarantino scripts and dragging QT's ensemble along for the ride like Madsen (honestly the best thing in the movie as the fancily dressed rider nicknamed "The Gent") and Carradine, it reminded me of airplane food that's been unthawed, warmed up, refrigerated, reheated again and again in a cheap imitation of the original meal. Needless to say it was by riding on the coattails of Tarantino that found Hell Ride included in the 2008 Sundance Film Festival and man, would I have loved to have heard the post-film discussion as critics filed out, no doubt feeling as though they'd just witnessed dental torture.

By paying homage to QT, many have met their creative downfall but even QT would've drawn the line at several of the film's scenes that are so far-fetched, nonsensical and downright annoying that they begin to make even someone such as myself who has enjoyed every one of Tarantino's films (including Death Proof) have second thoughts about the careless way he attaches his name to so many things.

Decision-wise, it's about as smart as his starring in Destiny Turns on the Radio but sadly, I'd rather watch Destiny Turns on the Radio ten times in a row (if it were anywhere to be found) than spend another minute watching Larry Bishop's misogynistic, pretentious, and yawn-inducing garbage that may as well have served as a raunchy combined ad for Viagra and Harley Davidson. Unfortunately, Hell Ride can't even muster up so much as a smile when we see familiar biker faces like Dennis Hopper who (along with Peter Fonda) must have an open-ended invitation to any American film involving motorcycles as evidenced in Wild Hogs which seems like the work of Scorsese next to Bishop's hellishly awful Ride.


Avoid it like the plague and don't worry, Bishop will find the fact that you don't want to speak to him complimentary that he's made a damn good "biker movie" or as he and Quentin Tarantino aspired, "the greatest biker movie of all time." Whatever you say; I'd ask but I'm not talking to either of you... so mission accomplished.


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