The complicated plotline by Mike Werb and Michael Colleary defies
any brief explanation. FBI agent Sean Archer (John Travolta), after years
of obsessive pursuit, finally captures the murderer of his young son
Michael, Castor Troy (Nicolas Cage), but not before Castor leaves one final
calling card--a large bomb waiting to detonate at an undisclosed Los Angeles
location. With Castor near death in a hospital, the only way to find out
the bomb's location is from Castor's imprisoned brother Pollux (Alessandro
Nivola), but the task is much easier said than done. To gain Pollux's
unconditional trust, Sean, through the use of a revolutionary surgery
technique, literally becomes Castor, adopting the criminal's face, voice,
and body. Needless to say, when the true Castor wakes up from his coma,
things get even more complicated. The newly free Castor (now played by
Travolta), wearing Sean's face, voice, body, and identity, shakes up the
FBI--not to mention the lives of Sean's wife Eve (Joan Allen, again
impressive) and rebellious daughter Jamie (Dominique Swain)--as the true
Sean (now played by Cage), incognito as Castor, sits in prison.
What ensues is a most intriguing acting exercise for Travolta and
Cage, who spend most of the movie playing the other's role, not to mention
the other's persona. It's a tricky, ambitious gimmick, and its success is
absolutely critical to the film--if it fails, so does the whole movie. But
in the capable hands of two consummate actors like Travolta and Cage, under
the direction of an underrated acting director like Woo, the switch succeeds
brilliantly. Each actor nails the other's mannerisms and speech rhythms so
perfectly, that it is never difficult to keep track of who's who; one really
does believe that each character is trapped in the other's body. Travolta
has the showier part, playing the over-the-top, oddball villain with gusto,
but it is Cage who really impresses, striking no false notes in the more
difficult, subtle, emotional role.
Woo's claim to fame is his delirious action scenes, and in Face/Off
moreso than any other of his American features, he is able to show off his
fresh, wildly imaginative approach to mayhem--elaborate choreography,
standoffs, flashy editing, etc. Woo fans dismayed by the watered-down
pyrotechnics in Hard Target and Broken Arrow will be relieved by the
spectacular action sequences in this film. One standout sequence, where
Olivia Newton-John's cover of "Over the Rainbow" plays while a defenseless
young boy watches numerous people getting shot to death, is the type of
hypnotic yet unsettling violence-as-poetry moments only Woo can pull off.
While Woo has made his name as a masterful action director, fans
know that the gunplay is just part of what makes his best HK action films so
great. They also feature rich characters and abnormally (for an action
film) strong emotion, and what makes Face/Off a Woo film through and through are these two qualities. A number of the film's most memorable scenes
aren't elaborate sequences, but quieter, more emotional ones. Particularly
poignant are moments involving Sean as Castor--when Sean first sees his
reflection as Castor and angrily yells "Fuck you!" over and over again to
the doctors; when Sean fights off tears playacting as Castor during a prison
fight; and, most notably, when Sean/Castor meets the son Castor never knew
he had and loses himself in the moment, hugging the child tightly and
calling him "Michael." These scenes, whose success is in large part due to
Cage's terrific performance, recall the raw, intense emotion Woo brought to
1990's devastating Bullet in the Head and his masterpiece, 1989's The Killer.
If there's one thing about Face/Off does not feel completely,
totally John Woo, it is the incredibly sunny ending, which comes complete
with garish white lighting. But that aside, Face/Off is still a refreshing,
undiluted dose of Woo--an exhilarating, engrossing, intelligent action
thriller that puts all of this summer's other popcorn movies to shame.
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After making steps toward maturity with 1995's serious-minded
Pocahontas and last year's vastly underrated dark masterpiece The Hunchback
of Notre Dame, Disney's 35th full-length animated feature, John Musker and
Ron Clements's comic adventure Hercules, finds the studio in retrograde.
While this shift in gears is a bit disappointing after the admirable
ambitions of the previous two films, there is no denying that Hercules is a
rousing crowdpleaser--the type of light, fun family entertainment the Disney
name has become synonymous with over the years.
The first few minutes of Hercules could not be more of a contrast
from the dark opening of Hunchback, in which the evil Judge Frollo kills
baby Quasimodo's mother attempts to drown him in a well--we see the
absolutely adorable baby Hercules (whose big head makes up two-thirds of his
entire body), superstrong son of gods Zeus (voiced by Rip Torn) and Hera
(Samantha Eggar), cuddling with his pet, baby Pegasus. The bliss on Mount
Olympus is short-lived, however; baby Herc is soon snatched away by god of
the underworld Hades (a well-cast James Woods, more smarmy used car salesman
than devilish overlord) who feeds the child a potion that makes him mortal
and thus unable to rejoin his parents in the land of the gods. Under the
training of wisecracking satyr Philoctetes (Danny DeVito, in top
wisecracking form), the strong and brave Herc (voiced as a teen by Joshua
Keaton and Roger Bart; voiced as an adult by Tate Donovan) becomes, if you
will, the Michael Jordan of ancient Greece, admired by millions and earning
millions through endorsement deals. But to regain his divine aura, he must
prove to be a "true hero," and standing in his way is Hades, who plots to
take over Olympus for his own dastardly purposes; and possibly Megara (Susan
Egan, the original Belle in Broadway's Beauty and the Beast), a
sharp-tongued damsel whose true motives are not clear.
As with all Disney animated features, the music is one of the main
attractions--or, at least, it should be. For Hercules, regular Disney
tunesmith Alan Menken, this time collaborating with Tony-winning lyricist
David Zippel, provides his most uneven work for a Disney film. The majority
of the singing is done by a quintet of Muses (Lilias White, Cheryl Freeman,
LaChanze, Roz Ryan, and Vaneese Thomas), a Greek chorus of narrators that is
part gospel choir, part Motown girl group. Their soulful numbers, which are
more than slightly reminiscent of Menken's catchy '50s-flavored work in
Little Shop of Horrors, provide a toe-tapping (if not particularly memorable
lyrically) musical framework for the film. But Menken's more traditional,
formulaic numbers fall flat. Phil's dreadful comic number "One Last Hope"
picks up right after Hunchback's weakest song, the uninspired gargoyle
showcase "A Guy Like You"; and "Go the Distance," Herc's big "I Want" song
(his only number in the film), is a forgettable, sappy ballad that
shallowly expresses his desires without shedding much inner light into the
character. Menken would have been better off spreading the R&B motif
through the entire picture--a point reinforced by the film's best song, "I
Won't Say (I'm in Love)," sung in the style of a '50s girl group by Meg and
the Muses. Why the producers chose a version of "Go the Distance" (sung by,
of all people, Michael Bolton) to serve as the film's pop single instead of
a rendition of this memorable song is beyond me.
Hercules also leaves a little something to be desired on the visual
level. While the artwork and animation is perfectly serviceable, the rather
simplistic art style is a bit of a comedown after the impressive visual
splendors of Hunchback. There is only one truly visually spectacular
sequence (Hercules's wild battle with a computer-generated Hydra) and only
one character with a striking look--Hades, whose head-topping flame changes
color depending upon his mood. Meg's appearance is particularly
disappointing; a femme fatale is something new and exciting for the genre,
but her animators aren't up to the task. Both curvy and sharply angular,
jarringly so, she is the first unattractive female lead in recent Disney
animated features. But where the artists fall short, Egan makes up,
delivering Meg's lines with the right balance of sass and teasing allure.
And what about Hercules? He's big, strong, well-meaning... and
dull. Sure, he has all the muscles; he can lift heavy objects over his
head; but no distinctly interesting personality shines through. At least
Aladdin had his life of crime and Prince Ali charade, John Smith his
"consent vs. descent" issue with Pocahontas, Simba his guilt over his
father's death, the Beast and Quasimodo their angst over their appearances.
Nothing is really made of Herc's main conflict (godly strength trapped in a
mortal body), save for one scene in which the teenage Herc is called
"Jerkules" after inadvertently destroying some architecture. He displays
some cockiness when he first meets Meg, but it's quickly thrown out the
window; perhaps a longer-lasting dash of that would have added something to him.
Even with a vapid void in the center, Hercules is still top-flight
entertainment for the family, even if it does not quite qualify as an
instant classic. It should have no problem reversing Disney animation's
slowly eroding box office grosses, which makes this Disney fan worry. With
the light, bouncy Hercules's box-office success just about assured, will the
Mouse completely abandon, unjustly so, more experimental and mature animated
works like Hunchback?
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In the years since her Oscar-nominated breakthrough in 1990's Pretty
Woman, it seemed as if Julia Roberts had forgotten how to be a star,
appearing virtually smile-free in clunkers such as Sleeping with the Enemy
and Mary Reilly. But in P.J. Hogan's delightful romantic comedy, the
Roberts audiences knew and loved is back--not only has the smile returned,
but also the glow, the joy of performance. Roberts stars as New York food
critic Julianne Potter, who realizes that her longtime best friend Michael
O'Neal (Dermot Mulroney) is the ideal man for her--just after he announces
his engagement to heiress Kimmy Wallace (Cameron Diaz). With only four days
until the wedding, Julianne plots to break up the happy couple and claim
Michael for herself.
Think you have the film already figured out? You don't. Ronald
Bass's clever, intelligent screenplay has more than a few surprises up its
sleeve. One of the more refreshing aspects is its treatment of Kimmy.
Usually in a romantic comedy, the third wheel is depicted as a complete
loser or as having a single overwhelming quality that befits a loser.
Kimmy, while a bit overenthusiastic and giddy from time to time, is a nice,
bright young woman; in fact, she actually becomes more sympathetic as the
film progresses, and Julianne less so as her scheme takes more underhanded
Mulroney and Diaz lend strong support to the newly energized
Roberts, who delivers her best work in years, but, oddly enough, the film
does not belong to her. Stealing the show is Rupert Everett, playing
Julianne's gay editor and confidant George Downes. Unlike homosexual
supporting characters in most films, George is no foolish object of
ridicule; actually, he is the most sensible character of all. In his
hilarious showcase scene (set in a seafood restaurant), he appears to be a
moron, but he's in fact way ahead of everyone else at the table, acting as
such to prove a point to Julianne. It will come as no surprise if he
garners a Best Supporting Actor Oscar nod next February.
To most clearly and thoroughly address all that is wrong with this
Bat-flick, I will first review the film character by character:
Bruce Wayne/Batman (George Clooney): Clooney has gone on record
that his aim in taking on the role of Batman was to wipe off the scowl from
under the cowl and lighten up the Caped Crusader. Big mistake. What seems
to be lost on Clooney, Schumacher, and Goldsman is that angst and brooding
is what makes Batman Batman--strip away that and you have in effect stripped
away the meat of the character, not to mention the whole motivation behind
millionaire Bruce's nocturnal adventures in a rubber rodent suit. So what
Clooney serves up is a not-too-interesting guy with a grin perpetually glued
onto his face, a flat, distant character we have absolutely no insight into
Dick Grayson/Robin (Chris O'Donnell): I am not a Robin fan; I never
have been, and I probably never will. However, despite a shaky, whiny
beginning, O'Donnell made me tolerate the Boy Wonder by the end of
Batman Forever by simply calming down. In Batman & Robin, though, Dick
and Robin are back in ultrawhiny mode, playing up the petty jealousy and
brash youth and na´vetÚ which are the very characteristics which annoy
Robin-haters the most. Presumably, the audience is supposed to sympathize
with Dick/Robin's frustration with not being treated as an adult by
Bruce/Batman, but based on his behavior in the film, there is no reason for
Bruce/Batman to treat Dick/Robin as anything but the whiny kid he comes off as.
Barbara Wilson/Batgirl (Alicia Silverstone): The big problem with
Batgirl is that no one figured out how to fit her into the story. Unlike
the introduction of Dick/Robin in Forever, which tied directly into the
storyline with Two-Face, Barbara, Alfred's (Michael Gough) niece, simply
turns up on the Wayne Manor doorstep in act one and, in a most superfluous
subplot, is revealed a closet biker chick in act two. There is an attempt
at convergence in act three, when Barbara becomes Batgirl (though her
ear-less getup makes her more resemble Robingirl) and aids the dynamic duo
in their cause, but her most significant contribution is pulling an Ariana
Richards in Jurassic Park (that is,
hack into a computer). The zaftig Silverstone is a good enough sport, but
she never appears completely comfortable as either biker Barbara or brainy
Barbara (or, for that matter, in her rubber costume).
Mr. Freeze (Arnold Schwarzenegger): The filmmakers seem the most
confused with how do deal with Dr. Victor Fries. Schumacher and Goldsman
use the tragic origin for the character from Batman: The Animated
Series--Dr. Fries experimented with cryogenics in an effort to save his
terminally ill wife, Nora (played by supermodel Vendela), but a lab mishap
made him unable to survive in non-freezing temperatures. Instead of leaving
it at that, in an apparent concession to the casting of Schwarzenegger in
the role, Mr. Freeze is a wisecracker, which is totally at odds with the
tragic depiction that is also presented. What results is a most jarring
mess of a character. Case in point: one early scene shows a somber Freeze
wistfully watching old home movies of him
and his wife. Suddenly, an underling comes in and interrupts his viewing
with some important news. Freeze turns around in his chair, freezes the guy
with his freezing gun, and quips, "I hate it when people talk during the
movie." Just what exactly are Schumacher and company going after here?
Poison Ivy (Uma Thurman): The one character that is the slightest bit
done right is that of seductive eco-terrorist Dr. Pamela Isley--but it's more
due to Thurman's lively performance than anything done by the filmmakers.
Like Michelle Pfeiffer as Catwoman in Batman Returns (though not nearly as good), Thurman has a firm grasp on the key to her character: she's not a
vamp, she's a natural wallflower acting like a vamp--thus the act is that
much more extreme. Thurman pulls it off beautifully, but, in the end, even
she's not immune to Schumacher and Goldsman's camp. For a gifted scientist,
her master plan--to populate the world with toothed, tongued plants that
come straight out of Little Shop of Horrors--is idiotic.
Bane (Jeep Swenson): Idiotic doesn't quite cover what is done to the
character of Bane, who definitely is the most ruined character in this film
treatment. In the Batman comics, Bane is Batman's ultimate challenge--not
only is he physically stronger than Bruce Wayne, he is also smarter. The
problem is that the venom which coarses through his veins makes him crazy.
In Batman & Robin, the only thing left of Bane comic fans know and love is
his bulk and the venom. Bane is nothing more than a generic, grunting,
intelligence-impaired, muscled henchman to Poison Ivy. The saddest thing
about the raping of Bane, he being a rather recent addition to the Batman
comic universe, is that most mainstream moviegoers won't even know that anything has been done wrong.
Schumacher and Goldsman's wrongdoing do not end with the characters.
Their most heinous crime is the overwhelming atmosphere of camp, from Batman
pulling out a Bat-credit card during an auction to Mr. Freeze's bunny
slippers, polar bear pajamas, and freezer full of frozen dinners.
Schumacher has said that he wanted to "put some 'comic' back in comic book,"
but he forgets what comic book he's dealing with--Batman, which is a "comic"
book in name only. In camping everything up, Schumacher, who claims to be a
comic book fan, just reinforces the most widely held stereotype about
comics--that they're just for kids. The irony is, of course, that the film
Batman & Robin is more juvenile than any Batman comic you'd find on the
I can go on about what is wrong with Batman & Robin, but I must give
some credit where credit is due. B&R does boast the most impressive visual
effects of the series; effects supervisor John Dykstra (of the recently
closed Warner Bros. effects house) comes up with some very convincing for
Freeze's freezing weapons and Ivy's pheremone dust. Production designer
Barbara Ling provides another striking vision of Gotham, with its towering
buildings and statues. And, yes, I guess I can say something "positive"
about Schumacher's work--he's an equal opportunity exploiter. Not only are
we treated to a Batman and Robin suiting-up sequence filled with butt,
crotch, and chest shots, their female counterpart is similarly exploited
when she gets her chance to suit up.
The most telling indication of Batman & Robin's shoddiness is the
audience reaction at the screening I attended. When the lights dimmed and
the curtain rose, the crowd cheered, and it applauded the names of the five
main stars. When the film ended with the image of Batman, Robin, and
Batgirl running in front of the Batsignal, there was a smattering of tepid
applause, but mostly boos. Let the Bat-lash begin.
In this adaptation of Lowell Cunningham's obscure Marvel/Malibu
comic, Smith stars as a New York cop who is recruited by mysterious Agent K
(Tommy Lee Jones) into the ultrasecret underground group known as the Men in
Black, which overlook intergalactic relations. It is up to Agent K and the
newly christened Agent J to prevent an alien bug disguised as a farmer
(Vincent D'Onofrio) from stealing a galaxy and thereby causing an
interplanetary war and, in turn, the destruction of earth.
If this sounds a tad confusing to you, you're not alone. MiB's
biggest problem is its story--the primary plot cooked up by screenwriter Ed
Solomon is introduced fairly late in the game. But by the
time the nominal plot takes center stage, the film has already won you over
with the script's witty one-liners, self-effacing sense of humor, and bashes
at pop culture (Sylvester Stallone is skewered in one of the more inspired
gags); and its imaginative production design (by Bo Welch) and visual
effects (supervised by Eric Brevig). Most impressive, however, are the
alien makeup effects designed by Rick Baker. The creatures look like
exactly that--living, breathing alien creatures and not animatronic puppets.
Especially convincing is an alien infant whom J delivers; slinky, squidlike,
and covered in slime, the expressive baby alien succeeds in doing what the
best human infants do onscreen--look cute and elicit "aw"s.
As impressive a technical achievement MiB is, it would not have
worked without a strong lead duo, and Jones and Smith make a great team.
Smith's natural, infectious ebullience plays off well against the stoic
Jones, who is at his deadpan best, engaging in some ridiculous situations
with the straightest of faces. It is one thing to wear a straight face
while having a heated discussion with an uncooperative dog, but it's quite a
whole other level of achievement to do that and convincingly appear to treat
the situation with the gravest of seriousness. Jones's K never shakes off
his grim face even when he is joking, making his performance that much more
effective and funny. D'Onofrio has some great slapstick moments as the
insect who hasn't quite got the hang of wearing a human skin suit, and
though she's underused, Linda Fiorentino, as coroner Dr. Laurel Weaver, fits
quite snugly with the team of Jones and Smith.
Men in Black is certain not to reach the stratospheric box office
heights of Smith's bountiful bout with aliens last summer, but in shedding
the self-importance and jingoism of the two-hour-plus ID4 and taking on a most welcome self-aware sense of humor, the lean, mean, 98-minute MiB is not just a better film, it's also a lot more fun.
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As the trailer for Jan DeBont's sequel to his 1994 adrenaline rush
says, "Since the last time we saw Annie (Sandra Bullock), some things have
changed." She still has no last name (some reviews have stated her full
name as Annie Porter though that name is never given in the film itself),
and she has traded in her daredevil SWAT team beau, Jack Traven (Keanu
Reeves in the original), for... another daredevil SWAT team beau, Alex Shaw
(Jason Patric). But, as the trailer also says, "Some things haven't." Alex
takes Annie on a romantic oceanliner getaway, but their bliss is short-lived
when a lone man--a disgruntled ex-employee of the cruise line named Geiger
(Willem Dafoe)--takes over the ship, sending it on a high-speed crash course
into an oil tanker and, later, an island resort town.
With its breakneck pace from elevator to bus to subway, Speed lived up to its title. Speed 2 also lives up to its title, but its
subtitle--cruise control indeed, as in slow and phoned-in, coasting by on
what is passed off as thrills. Despite all the explosions and fireworks
(including a most impressive five-minute crash sequence), Speed 2, while
somewhat diverting and watchable, is never exciting. Unlike the original,
which immediately dove into action from the first scene, it takes a good
twenty-plus minutes for Geiger's scheme to get off the ground. Also unlike
the original, which had the sense to not delve into any other bus passenger
save for Annie, a good deal of time is wasted on peripheral characters we
could not care less about. Not that the main characters are anything to
crow about, either--Bullock predictably does an able job of reprising her
starmaking role, albeit less interesting this time around for the sheer fact
that she isn't given anything of substance to do; Patric is adequate if
run-of-the-mill as the action hero; but Dafoe's villain never comes off as
much of a threat--he is more nuts than dangerously psycho.
Worst of all, though, the seams of the last-minute Alex-for-Jack
rewrite really shine through. For instance, Glenn Plummer reprises his role
as the commuter whose car Jack used to get on the bus; this time, Alex uses
his expensive boat to get onto Geiger's seaplane. Plummer makes a "comic"
reference to the therapy he underwent as a result of his experience with the
LAPD, but it's forced. Without the character of Jack in the scene, doing
exactly what he did in the first film to exactly the same person, the whole
point of the joke is lost.
V I D E O
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Making its American wide release debut on video after plans for a
theatrical release were aborted is this 1993 Hong Kong action thriller, best
known as the film in which Jackie Chan plays it completely straight. Chan
stars as a special agent assigned to protect a wealthy businessman (Law Hang
Kang) who is promptly kidnapped and held for ransom; little does he know
that the mastermind behind the scheme is his partner (Kent Cheng). Director
Kirk Wong has crafted a stylish, efficient thriller with all the spectacular
action sequences and stuntwork expected of a Chan vehicle. While Chan
acquits himself nicely in this dramatic role, in stripping away Chan's
trademark sense of humor, this vehicle feels less fresh and more Hollywood
standard-issue than Chan's comedically-tinged work. Unlike other domestic
releases of Chan's work, Chan does not do his own English-language dubbing;
instead, there is a voice actor who tries to sound like him--and fails
miserably. (Dimension Home Video)