“THE DARK KNIGHT” (2008) Review

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”THE DARK KNIGHT” (2008) Review

In 2005, director/writer Christopher Nolan rebooted the Batman franchise with the highly successful movie, ”BATMAN BEGINS” that starred Christian Bale as the Caped Crusader. Both men have reunited three years later for a new story centered around Batman’s conflict with his greatest nemesis, the Joker, in this sequel called ”THE DARK KNIGHT”.

There has been a great deal of attention surrounding this movie. Many have not only praised it, claiming that it is better than the 2005 movie. But most of the word-of-mouth have centered around Heath Ledger’s performance as the Joker, especially after his tragic death some six months ago. When ”THE DARK KNIGHT” was finally released, many critics and fans expressed the belief that the positive word-of-mouth had been justified. Not only have many judged Ledger’s performance as the best in his career, others have claimed that the movie is probably the best Comic Book Hero movie ever made. I do not know if the Joker featured Heath Ledger’s best performance ever. As for the claim about ”THE DARK KNIGHT” being the best comic book hero movie . . . I do not agree.

I am not saying that ”THE DARK KNIGHT” was a terrible or mediocre film. Frankly, I believe that it was one of the best movies I have seen this summer. Most of the movie featured an excellent story scripted by Christopher and Jonathan Nolan, and David S. Goyer, in which Gotham’s organized criminal element has found itself threatened by the law ever since the end of the Falsone family in ”BATMAN BEGINS”, thanks to Batman (Bale). A former inmate of Arkham Asylum named the Joker (Ledger) approaches the crime bosses, which include Salvatore “Sal” Maroni (Eric Roberts), with an offer to kill Batman for pay. At the same time, Batman and Lieutenant James Gordon (Gary Oldman) contemplate including the new district attorney Harvey Dent (Aaron Eckhart) in their plan to eradicate the mob, as he could be the public hero Batman cannot be. Harvey Dent is found to be dating Wayne’s childhood friend and object of romantic desire, Rachel Dawes (Maggie Gyllenhaal). This conflict between Batman, the Joker and their allies escalates to a tragic and well-directed dénouement that leads to Rachel’s death. And it is here where I believe that the movie faltered.

”THE DARK KNIGHT” could have ended with Rachel’s death, followed by the Joker’s manipulation of a grieving Harvey Dent into madness and his eventual capture or death. Instead, the Nolan brothers and Goyer allowed the Joker to escape and continued the story with Dent’s vengeful hunt for those he considered responsible for Rachel’s death and the Joker resorting to a Green Goblin situation involving two ferryboats packed with explosives. The situation involved him telling the passengers on each that the only way to save themselves is to trigger the explosives on the other ferry; otherwise, at midnight he will destroy them both remotely. All of this occurred during the movie’s last half hour and quite frankly, it was a half hour I could have done without. I found the entire ferryboats sequence so unbelievable and contrived. It seemed as if Nolan teased us with the possibility of seeing the darker side of the average citizen . . . and wimped out, because he would rather stroke the ego of his moviegoers with some “nobility of man” bullshit by allowing the passengers refuse to blow or try to blow each other to kingdom come, instead of telling the truth about human nature. Very disappointing. It would have been more interesting or darker if Batman had prevented the passengers from blowing up the boats at the last minute. Batman would have saved the people, but the Joker would have proven a point.

A fan had pointed out that the ending of the sequence was Nolan’s message about leaving a sliver of hope for the audience that human beings do have the capacity to do good things. I realize that this was Nolan’s aim, but this is a message that has been done to death by moviegoers for eons. The problem is that screenwriters and moviemakers are always giving moviegoers this “sliver of hope”. They call themselves pointing out the dark side of humanity and then they pervert these messages by allowing them to come out of the mouths from villains like the Joker, before the latter is eventually proven wrong. It just seems like a cop out to me. Which was why I found the whole ferryboat sequence something of a joke. Sure, human beings are capable of doing some good. But in that particular situation? I rather doubt it. If there is one trait that humanity possess, it is a talent for self-preservation. It would have been more realistic to me if the boats had detonated or Batman had prevented this before anyone on one or both of those boats and activated the bombs. Granted, Batman/Bruce Wayne would have been disappointed in Gotham’s citizens, but he would have learned a valuable lesson about the very people he calls himself protecting. Even better, I would have preferred if Nolan had never added that sequence in the first place.

As for Harvey Dent’s hunt for those he deemed responsible for Rachel’s death . . . I would have been more satisfied if Nolan and his co-writers had ended the movie with Dent’s eventual slide into darkness in that hospital room and saved his transformation into a twisted vigilante and arch villain in a third Batman film. This would have prevented the movie from being unnecessarily a half hour long. And it would have saved the talented Aaron Eckhart for the third film as “Two-Faced” Harvey. It would have also spared moviegoers of that ludicrous ending in which Batman and Gordon decided to allow the former assume blame of Dent’s crimes in order to save the reputation of the D.A. I am still stunned by this little plot development. What were the Nolan brothers thinking? Why was it so necessary to save Dent’s reputation in the first place? Did Batman and Gordon harbored such a low opinion of Gotham’s citizens that they had to treat the latter like children?

The performances in ”THE DARK KNIGHT” were basically superb. Christian Bale beautifully captured the growing dilemma of Bruce Wayne’s desire for a normal life with Rachel Dawes, juxtaposed with his role as Gotham’s costumed vigilante and his growing power over the city’s criminal element, thanks to his alliance with police lieutenant James Gordon and the new District Attorney, Harvey Dent. There is one aspect of Bale’s performance I did not like – namely the growling tone he used, while in the Batman persona. I did not care for it in ”BATMAN BEGINS”. I cared for it even less in this film.

I have noticed how many have expressed the view that Maggie Gyllenhaal’s portrayal of Rachel Dawes was better than Katie Holmes in the 2005 film. Personally, I did not see much of a difference in the quality of their performances. Both actresses gave good, solid performances. But . . . the screenwriters’ portrayal of Rachel in this film disappointed me. They had turned her characters into an object. She was Bruce Wayne’s prize for giving up the Batman persona, as soon as he could get Dent to assume the role of Gotham’s “hero”. She was Dent’s love interest, Girl Friday and a reason to go on a rampage for Dent. And for the Joker, she was a means to get at Batman, once he realized how the latter felt about her. There were times when Rachel’s character almost seemed irrelevant and a sad decline from the legal and moral dynamo that Holmes had portrayed in ”BATMAN BEGINS”.

Heath Ledger as the Joker. What can I say? The man was brilliant. He made Jack Nicholson’s Joker look like chump change. Honestly. One of the reasons why I have never care for the Joker character in the past was due to his over-the-top persona. Cesar Romero’s Joker has never impressed me, regardless of the numerous insane clown laughs he had utilized. Nicholson’s Joker was too over-the-top for my tastes. As one can see, I do not have a love for overly theatrical characters, unless they are done right. Granted, Ledger portrayed the Joker as over-the-top. But somehow . . . I really do not know how to describe it. Somehow, he managed to infuse some kind of control in the character’s insanity, not only with his behavior, but also with a talent for emotional manipulation and the views he had spouted to Batman and other characters. Do I believe that the Joker was Ledger’s best performance? No. I believe that the character was one of his two best performances, the other being Ennis DelMar from 2005’s ”BROKEBACK MOUNTAIN”. Do I believe that Ledger deserves an Oscar nomination for his performance, despite his death? Hmmmm . . . yes. He was that good.

The other truly superb performance came from Aaron Eckhart as Gotham’s new District Attorney, Harvey Dent. One of Eckhart’s virtues was that he formed an excellent screen chemistry with Maggie Gyllenhaal. Frankly, I found their romance more believable than her relationship with Bruce Wayne. Eckhart projected a great deal of magnetism, charm and intensity into his portrayal of Dent. But I was more impressed by the way he expressed Dent’s descent into vengeful madness, following Rachel’s death. Granted, this turn of his character occurred in the movie’s last half hour. Although I disliked the movie’s last half hour, Eckhart’s performance in it almost made it bearable.

Gary Oldman, Michael Caine (Alfred Pennyworth), Morgan Freeman (Lucius Fox) and Cillian Murphy (Dr. Jonathan Crane/the Scarecrow) all reprised their roles from the first film. All four gave solid performances, but only Oldman’s role as James Gordon seemed bigger. I found Gordon’s fake death somewhat contrived and manipulative. Aside from the creation of the Rachel Dawes character, everything about the two Batman movies directed by Nolan have adhered to the Batman canon. Which is why I found it difficult to believe that Gordon was dead. Alfred’s role seemed to have diminished from the first film. Freeman’s Lucius Fox is now quite aware that Bruce is Batman and seemed to be acting as the latter’s armourer, as well as Wayne Enterprises’ CEO. The only problem I had with the Fox character was his opposition against Wayne/Batman’s development an advanced surveillance system that can listen in and track the movement of any of the thousands of cell phones in the city. I found the whole scenario contrived. As much as I had enjoyed Cillian Murphy’s portrayal of Dr. Crane/the Scarecrow in ”BATMAN BEGINS”, I found his less than ten minutes appearance in ”THE DARK KNIGHT” a waste of the actor’s time . . . and mine.

Composers Hans Zimmer and James Newton Howard returned to score the sequel. I must admit that I had been impressed by their work in ”BATMAN BEGINS” and had expected another exceptional score by them. Unfortunately, I barely remembered the score. I understand that they had rehashed the original score for this movie and added a new theme or two. But it all came off as unmemorable for me.

”THE DARK KNIGHT” had the potential to be this summer’s best film. But there were some aspects – the portrayal of Rachel Dawes’ character, Zimmer and Newton Howard’s score, the portrayal of some of the minor characters and the contrived writing that dominated the movie’s last half hour – that I believe had ruined the movie’s chances of achieving this potential. Fortunately, the virtues outweighed the flaws and in the end, ”THE DARK KNIGHT” managed to remain first-rate and become – in my view – one of the best films of 2008.

“THE AMERICAN” (2010) Review

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“THE AMERICAN” (2010) Review

With the disappointing summer movie season of 2010 finally over, moviegoers received one of its first releases for the fall season. The movie in question happened to be a tight little thriller about an American assassin working on a job in Italy called ”THE AMERICAN”.

Directed by Anton Corbijn and starring George Clooney, ”THE AMERICAN” is a film adaptation of ”A Very Private Gentleman”, Martin Booth’s 1990 novel about an assassin named Jack, who is hired to construct a rifle for another assassin in a small town in Italy called Castel del Monte. During his stay there, Jack befriends a friendly, yet observant priest named Father Benedetto; and falls for a young prostitute named Clara. He also tries to prevent himself from becoming the target of another assassin.

I had mixed feelings about going to see this movie. After watching it, my feelings about it remained mixed. One, I managed to predict the end of this movie before I even saw it. And I have never read Booth’s novel. The ending seemed even more apparent, considering the movie’s style and story. Two, the pacing struck me as being unnecessarily slow in some scenes. Now, I am not demanding that Corbijn should have paced ”THE AMERICAN” with the same timing as any of the recent Jason Bourne movies. After all, it is basically a character study of an assassin who has come to realize that he has been in the killing game too long. But there were moments when the camera lingered too lovingly upon some of Jack’s more mundane tasks that I would not have minded avoiding. One last complaint I have about ”THE AMERICAN” is that Rowan Joffe’s screenplay never made it clear who was behind the attempts to kill Jack in Sweden and the assassin who stalked him in Castel del Monte. Mind you, I had a pretty good idea on the person’s identity. Unfortunately, the script never really made it clear.

But there were aspects of ”THE AMERICAN” that I enjoyed. I found George Clooney’s portrayal of the world weary assassin well done. In fact, I could honestly say that he did an excellent job in portraying Jack’s mixture of professional wariness, emotional bankruptcy and hopes of a romantic future with the prostitute, Clara. The role of Jack might prove to be one of his better ones. Both Paolo Bonacelli and Violante Placido, who portrayed Father Benedetto and Clara respectively, gave Clooney excellent support. So did actress Thekla Reuten, who portrayed Mathilde, the assassin that commissioned Jack to construct a rifle for her. However, there were times when she conveyed the femme fatale persona just a bit too thick.

Joffe’s screenplay almost seemed to strike a balance between an in-depth character study and a small, taunt thriller. I say almost, due to the movie’s occasional slow pacing and a vague subplot regarding a threat to Jack’s life. But director Corbijn did effectively utilize some tense scenes included in Joffe’s script. The two best scenes featured Jack’s final encounter with the assassin hired to stalk him around Castel del Monte and the explosive finale that featured a slight, yet surprising twist.

”THE AMERICAN has its share of faults. Nor would I consider to be one of the best movies of 2010.  But I must admit that George Clooney’s performance as the world-weary assassin, Jack, might be one of his better roles. And director Anton Corbijn managed to strike a nice balance between an in-depth character study and a tense-filled action thriller. I could honestly say that ”THE AMERICAN” one of 2010’s more “interesting” films.

“THE SCARLET PIMPERNEL” (1982) Review

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“THE SCARLET PIMPERNEL” (1982) Review

I suspect that many fans of the DC Comics character “Batman” and the “Zorro” character would be nonplussed at the idea that a novel written by a Hungary-born aristocrat had served as an inspiration for their creations. Yet, many believe that Baroness Emmuska Orczy de Orczi’s 1905 novel, “The Scarlet Pimpernel” provided Western literature with its first “hero with a secret identity”, Sir Percy Blakeney aka the Scarlet Pimpernel.

There have been at least nineteen stage, movie or television adaptations of Orczy’s novel. Some consider the 1934 movie adaptation with Leslie Howard, Merle Oberon and Raymond Massey as the most definitive adaptation. However, there are others who are more inclined to bestow that honor on the 1982 television adaptation with Anthony Andrews, Jane Seymour and Ian McKellen. I have seen both versions and if I must be honest, I am inclined to agree with those who prefer the 1982 television movie.

“THE SCARLET PIMPERNEL” – namely its 1982 re-incarnation – is based upon the 1905 novel and its 1913 sequel, “Eldorado”. Set during the early period of the French Revolution, a masked man and his band of followers rescues French aristocrats from becoming victims of the Reign of Terror under France’s new leader, Maximilien de Robespierre. The man behind the Scarlet Pimpernel’s mask – or disguises – is a foppish English baronet named Sir Percy Blakeney. For reasons never explained in the movie, Sir Percy has managed to gather a group of upper-class friends to assist him in smuggling French aristocrats out of France and sending them to the safety of England. During a visit to France, Sir Percy meets a young French government aide and the latter’s actress sister, Armand and Marguerite St. Just. He eventually befriends the brother and courts the sister.

Sir Percy also becomes aware of Armand’s superior and Marguerite’s friend, Robespierre’s agent Paul Chauvelin. Angered over Marguerite’s marriage to Sir Percy, Chauvelin has the Marquis de St. Cyr – an old enemy of Armand’s – executed in her name. After being sent to England to learn the identity of the Scarlet Pimpernel, Chauvelin discovers that Armand has become part of the vigilante’s band. He blackmails Marguerite – now Lady Blakeney – into learning the identity the identity of the Scarlet Pimpernel. Meanwhile, the Blakeney marriage has chilled, due to the news of the Marquis de St. Cyr’s execution and Marguerite’s alleged connection. But a chance for a marital reconciliation materializes for Marguerite, when she discovers the Scarlet Pimpernel’s true identity.

Thirty years have passed since CBS first aired “THE SCARLET PIMPERNEL”. In many ways, it has not lost its bite. Thanks to Tony Curtis’ production designs, late 18th century England and France (England and Wales in reality) glowed with elegance and style. Not even the questionable transfer of the film to DVD could completely erode the movie’s beauty. The movie’s visual style was aided by Carolyn Scott’s set decorations, Dennis C. Lewiston’s sharp and colorful photography, and especially Phyllis Dalton’s gorgeous costume designs, as shown in the following photographs:

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I feel that screenwriter William Bast made the very wise choice of adapting Baroness Orczy’s two novels about the Scarlet Pimpernel. In doing so, he managed to create a very clear and concise tale filled with plenty of drama and action. He also did an excellent job in mapping out the development of the story’s main characters – especially Sir Percy Blakeney, Marguerite St. Just, Paul Chauvelin and Armand St. Just. I was especially impressed by his handling of Sir Percy and Marguerite’s relationship – before and after marriage. Sir Percy’s easy willingness to believe the worst about his bride provided a few chinks into Sir Percy’s character, which could have easily morphed into a too perfect personality. More importantly, Bast’s script gave Paul Chauvelin’s character more depth by revealing the latter’s feelings for Marguerite and jealousy over her marriage to Sir Percy. Bast’s re-creation of the early years of the French Revolution and Reign of Terror struck me as well done. However, I wish he had not faithfully adapted Orczy’s decision to allow the Scarlet Pimpernel and his men to rescue the Daupin of France (heir apparent to the French throne), Louis-Charles (who became Louis XVII, upon his father’s death). In reality, Louis-Charles died in prison from tuberculosis and ill treatment at the age of ten. Surely, Bast could have created someone else important for the Scarlet Pimpernel to rescue.

“THE SCARLET PIMPERNEL” received a few Emmy nominations. But they were for technical awards – Costume Designs for Phyllis Dalton, Art Direction for Tony Curtis and even one for Outstanding Drama Special for producers David Conroy and Mark Shelmerdine. And yet . . . there were no nominations for Clive Donner and his lively direction, and no nominations for the cast. I am especially astounded by the lack of nominations for Anthony Andrews, Jane Seymour and Ian McKellen. In fact, I find this criminal. All three gave superb performances as Sir Percy Blakeney; Marguerite, Lady Blakeney; and Paul Chauvelin respectively. Andrews was all over the map in his portrayal of the fop by day/hero by night Sir Percy. And yet, it was a very controlled and disciplined performance. Jane Seymour did a beautiful job of re-creating the intelligent, yet emotional Marguerite. At times, she seemed to be the heart and soul of the story. This was the first production in which I became aware of Ian McKellen as an actor and after his performance as Paul Chauvelin, I never forgot him. Not only was his portrayal of Chauvelin’s villainy subtle, but also filled with deep pathos over his feelings for Marguerite Blakeney. He also had the luck to utter one of my favorite lines in the movie in the face of his character’s defeat:

“Oh, the English, and their STU-U-U-UPID sense of fair play!”

The movie also featured some first-rate performances by the supporting cast. Malcolm Jamieson did an excellent job in portraying Marguerite’s older brother, Armand. I was also impressed by Ann Firbank, who was first-rate as the embittered Countess de Tournay; James Villiers as the opportunistic Baron de Batz; Tracey Childs as the lovesick Suzanne de Tournay; and Christopher Villiers as Sir Percy’s most stalwart assistant, Lord Anthony Dewhurst. Julian Fellowes made a very colorful and entertaining Prince of Wales. And Richard Morant proved to be even more subtle and sinister than McKellen’s Chauvelin as Maximilien de Robespierre.

After my latest viewing of “THE SCARLET PIMPERNEL”, I found myself surprisingly less supportive of the Scarlet Pimpernel’s efforts than I used to be. Perhaps I have not only become more older, but even less enthusiastic about the aristocratic elite. It was then I realized that despite the presence of Marguerite and Armand St. Just, “THE SCARLET PIMPERNEL” is based on two novels written by an aristocrat, with views that were probably as liberal as Barry Goldwater. Oh well. I still managed to garner a good deal of entertainment from a movie that has held up remarkable well after thirty years, thanks to some lively direction by Clive Donner, a first-rate script by William Bast and superb performances by the likes of Anthony Andrews, Jane Seymour and Ian McKellen.

“TERMINATOR 2: JUDGMENT DAY” (1991) Review

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”THE TERMINATOR 2: JUDGMENT DAY” (1991) Review

Seven years following the release of the 1984 movie, ”THE TERMINATOR”, James Cameron wrote, produced and directed the first of three sequels called ”TERMINATOR 2: JUDGMENT DAY”. Like its predecessor, the film starred Arnold Schwarzenegger and Linda Hamilton. It also became one of the most highly critical and successful action films of the 1990s.

Although released in 1991, the movie is set in 1995 – eleven years after the first one. John Connor (Edward Furlong) is now ten years old and living in Los Angeles with foster parents. His mother Sarah Connor (Linda Hamilton) had been preparing him throughout his childhood for his future role as the leader of the human Resistance against Skynet. Unfortunately, was arrested after attempting to bomb a computer factory and sent to a hospital for the criminally insane under the supervision of Dr. Silberman (Earl Boen), the psychiatrist who had examined time traveler Kyle Reese (Michael Biehn) in the first film. Skynet sends a newly advanced Terminator, a T-1000 (Robert Patrick) that assumes the identity of a police officer, back in time to 1995 to kill John. Meanwhile, the future John Connor has sent back a reprogrammed Terminator (Arnold Schwarzenegger), identical to the one that attacked Sarah, to protect his younger self.

Like the first film, ”TERMINATOR 2: JUDGMENT DAY” is a thrilling and tense action film that made breakthroughs in the area special effects in film. And like in the first film, Cameron and his co-writer, William Wisher Jr. (sans Gale Anne Hurd, who only served as a producer for this film), created a story that centered around a future cyborg sent back in time to prevent a certain John Connor from ever becoming the leader of the Human Resistance against the future self-aware computer system, Skynet. Perhaps I should have said one of the storylines. Thanks to information garnered by young John’s Terminator protector, the Connors learns that the man most directly responsible for Skynet’s creation is Miles Bennett Dyson (Joe Morton), a Cyberdyne Systems engineer working on a revolutionary new microprocessor that will form the basis for Skynet. This particular storyline lead to one of the film’s more interesting scenes that feature Dyson’s reaction to the consequences his work and a great performance by Joe Morton. Another favorite scene featured the Terminator’s first rescue of John Connor from the T-1000 that had been sent to kill the latter. Arnold Schwarzenegger’s interactions with Edward Furlong not only provided some laughs in these scenes, but also a great deal of poignancy, as the two quickly form an immediate bond.

If I have to name one sequence that struck me as the movie’s pièce de résistance, it had to be the one that featured John and the T-800’s attempt to rescue Sarah from the Pescadero State Hospital, during one of her escape attempts. The entire sequence began with John convincing his T-800 savior to rescue his mother from the mental hospital in case the T-1000 came after her. John’s decision came at a time when Sarah decided to make her own escape after Dr. Silberman had rejected her request to receive a visit from her son. This exciting sequence culminated in a bizarre moment that featured Sarah’s first terrified glimpse of the T-800 coming to her rescue. By this time, the T-1000 had arrived at the hospital, killing anyone who stood in its way. This is probably one of the finest action sequences I have ever seen on screen in the past decade or two. And it is not surprising that it is the one sequence that many recall when speaking of the movie.

The movie had received a great deal of accolades for its special effects. Did it deserve it? In regard to the Industrial Light & Magic’s design of the T-1000, I would say yes. As for Stan Winston’s effects, I thought he did a good job. But I could find nothing to get excited about.

The movie also featured some pretty solid performances from the cast. Arnold Schwarzenegger gave a better performance in this film, considering that he was allowed to project more emotion than he did in the 1984 film. This is not surprising considering that the T-800 he portrayed in this film got to learn a great deal about human emotions from the 10 year-old John. Robert Patrick found himself in the same as Schwarzenegger was in the last film – portraying a remorseless and efficient killer with little emotion. And frankly, I found him just as scary. I had commented earlier on Joe Morton’s performance in a very important scene featuring his character, Myles Dyson. Not only do I stand by my comments, I would also like to add that I was impressed by his acting altogether. It was nice to see Earl Boen reprise his role as Dr. Silberman, the police psychiatrist who had examined Kyle Reese in the first film. My only gripe is that the movie never mentioned his first meeting with Sarah, back in 1984. Linda Hamilton had certainly wowed many fans of her transformation of the Sarah Connor character. In this movie, her Sarah is a tough and ruthless woman determined to ensure her son’s survival at any costs. And from the moment the camera first focuses upon her doing arm lifts inside her hospital cell, the audience gets a strong idea on how much Sarah had changed. But for me, the movie belonged to Edward Furlong, the first actor to portray future Human Resistance leader, John Connor. Furlong was around 13-14 years old at the time. And he did a superb job in combining the different aspects of the 10 year-old John’s personality – the child who had clung to his T-800 protector as a father figure, the bold and wayward delinquent that robbed from ATM machines and the tough street kid taught to survive by his high strung mother. It is not surprising that Furlong ended up winning both a Saturn Award and a MTV Movie Award for his performance.

Is ”TERMINATOR 2: JUDGMENT DAY” perfect? No. In fact I have more than a few “quibbles” about the movie. Let me start with my first problem with this film . . . Linda Hamilton. Yes, I realize that I had complimented her performance in the previous paragraph. There were some positive aspects to it. But it also annoyed me. I had read that it was Hamilton who suggested that Sarah Connor become psychotic in the intervening years after her encounter with the Terminator in 1984. Frankly, I wish to God that Cameron had NOT taken her advice. I realize that fans loved this new aspect of Sarah’s personality. I did not. I saw no reason to turn her into a borderline psychotic in order to make her seem tough. And the movie never really explained why after so many years, Sarah had mentally gone around the bend. My second problem with the movie centered on the T-1000. I had no problem with Robert Patrick’s performance. I did have a problem that the movie’s main villain managed to disappear from the screen for nearly an hour. After Sarah, John and the T-800 managed to evade him following Sarah’s escape from the mental hospital, he simply disappeared, while they a) headed south toward the U.S.-Mexico border and then b) returned to Malibu and met Myles Dyson; and c) helped Dyson steal the central processing unit(CPU) and arm of the 1984 Terminator.. At least 45-50 minutes had passed before the T-1000 appeared on the screen again. And my biggest problem with this film centered around the finale and the T-1000’s attempt to use Sarah to capture and kill John. Why do I have a problem with this entire sequence? It was TOO . . . DAMN . . . LONG!! It was too long. Why did Cameron forced the audience to watch the T-1000 chase down and attempt to kill John for nearly a half hour? It was not necessary. And why on earth did Sarah believe or even hope that following the destruction of the CPU, the old Terminator’s arm and the 1995 T-800’s sacrifice; Judgment Day may have been averted? She had proof standing next to her that it would happen – namely her son, John. If they had really averted Judgment Day, John would cease to exist. Without Judgment Day, Kyle Reese would never have a reason to travel back to 1984 and meet Sarah Connor.

Do not get me wrong. I enjoyed ”TERMINATOR 2: JUDGMENT DAY” a lot. It was a first-rate continuation of the original movie’s plot that involved one time traveler trying to prevent John Connor from becoming the Humans’ resistance leader and another time traveler sent to act as a protector. And in this movie, the protagonists also try to prevent Judgment Day. But there were times when I felt that its reputation as one of the finest science-fiction films ever made is overrated. I did not care for the psychotic turn of Sarah Connor’s character. The T-1000 managed to disappear from the story longer than necessary. In fact, the showdown between the Connors, the T-800 and the T-1000 dragged the film’s last half hour. But I would still recommend this movie to anyone who asked about it.

“THUNDERBALL” (1965) Review

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“THUNDERBALL” (1965) Review

I had just viewed the 1965 Bond movie, “THUNDERBALL” for the first time in several years. And I can see why this movie is considered to be one of my all time favorite Bond flicks. But I do not think I can state why in one or two sentences.

“THUNDERBALL” turned out to be director Terrence Young’s third and last Bond film. Most Bond fans consider it to be his least superior film, but I consider it to be his second best, following 1963’s “FROM RUSSIA WITH LOVE”. The story, based upon an unfinished script called “Warhead”, co-written by Ian Fleming, Kevin McClory and Jack Whittingham. The unfinished script eventually became Fleming’s 1961 novel, “Thunderball”. This resulted in a major lawsuit between McClory and Fleming and eventually, EON Productions became dragged into it. The story is about SPECTRE’s theft of NATO nuclear warheads and how they used it to blackmail the U.S. and British government for the sum of 100,000,000 pounds. Naturally, MI-6 sends all of their “00” agents to recover the warheads before SPECTRE can carry out its threat to detonate the weapons on U.S. and British soil. Many moviegoers found the movie’s plot a little hard to buy and viewed it as part of the realm of fantasy. But considering the current obsession of terrorism and the high illegal weapons market, “THUNDERBALL” is probably one of the more relevant plots of any Bond film.

Aside from the underwater sequences, “THUNDERBALL” turned out to be an elegant and exciting thriller with excellent drama, a solid plot that managed to avoid any major plotholes, a classy score by John Barry and a first-class cast. Sean Connery portrayed James Bond for the fourth time in this film. Thankfully, he seemed to be at his top game in this one. It is a vast improvement over his performance in 1964’s “GOLDFINGER”, in which he seemed to come off as an immature prat. And he is ably assisted by a first-class cast – Claudine Auger as Domino Duval, Adolfo Celi as villain Emile Largo (SPECTRE’s Number 2), Rik Van Nutter as CIA Agent Felix Leiter and especially Luciana Paluzzi as villainess Fiona Volpe.

Below is a list of positive and negative aspects of the film. I have decided to start with the negative, since there was little that I did not care about the movie:

Negative:

*Rik Van Nutter as Felix Leiter – Do not get me wrong. Van Nutter’s performance as Leiter was competent and very personable. My problem was that his role was written as a “less-than-bright” sidekick of Bond’s, instead of an ally. Bond has been assisted by Leiter in other movies, but they have never come off as some dumb sidekick . . . except for Cec Linder in “GOLDFINGER”.

*Theme Song – I will not deny that the movie’s theme song, performed by Tom Jones is slightly catchy. But I also found the lyrics to be slightly sexist and off-putting.

*Underwater Sequences – Yes, the underwater sequences had threatened to drag the movie a bit. Actually, I can point out two sequences that came close to boring me – the sequence that featured Largo’s acquisition of the warheads and the final battle between Largo’s men and U.S. Navy frogmen.

Blackmail of Patricia Fearing – James Bond’s attempt to seduce Shrublands Clinic nurse, Patricia Fearing, came off as disturbing and tacky. It was bad enough to watch him make attempts to kiss the very professional Ms. Fearing without her consent. But when he resorted to blackmail – willingness to conceal his near death experience with the physiotherapy machine aka “the rack” in exchange for sex – the whole situation became rather sordid.

Positive:

*Luciana Paluzzi – Let us be honest, folks. The red-haired Paluzzi came dangerously close to stealing the picture from Connery. Like Honor Blackman before her, she radiated sexiness and a strong on-screen presence. She seemed to be even more of a threat than Emile Largo and his men.

*Adolpo Celi – What I like about Celi’s performance is that he does not come off as an over-the-top villain. He was elegant, intelligent, ruthless and egotistical. Perfect villain.

*Nassau Setting – The setting in Nassau gave the movie an exotic, yet elegant feel that really added substance to the movie.

*Villain’s Goal – Many critics have claimed that the villain’s goal in the movie – nuclear blackmail for money – seemed unrealistic, due to a belief there was little chance that an organization like SPECTRE could get its hands on a nuclear bomb from a NATO strategic bomber. And yet, I have never considered such a scenario unrealistic. Especially in today’s world. In a way, this scenario seems much more possible than some of scenarios featured in other Bond movies from the same period.

*Dialogue – The dialogue in this movie was unusually sharp and witty. But what really appealed to me was that Connery’s puns did not come out of his mouth every other minute, as it did in his previous two movies. In fact, the movie featured what I consider to be one of Connery’s best lines during his tenure with the franchise.</i>

Speaking of dialogue, below is what I consider to be some of my favorite lines:

* Moneypenny: In the conference room. Something pretty big. Every double-o man in Europe has been rushed in. And the home secretary too!
Bond: His wife probably lost her dog.

*Bond: My dear, uncooperative Domino.
Domino: How do you know that? How do you know my friends call me Domino?
Bond: It’s on the bracelet on your ankle.
Domino: So… what sharp little eyes you’ve got.
Bond: Wait ’til you get to my teeth.

*Do you mind if my friend sits this one out? She’s just dead.

*M: I’ve assigned you to Station “C” Canada.
Bond: Sir, I’d respectfully request that you change my assignment to Nassau.
M:Is there any other reason, besides your enthusiasm for water sports?

*Pat Fearing: James, where are you going?
Bond: Oh, nowhere. I just thought I’d take a little, uh… exercise.
Pat Fearing: You must be joking.

*But of course, I forgot your ego, Mr. Bond. James Bond, the one where he has to make love to a woman, and she starts to hear heavenly choirs singing. She repents, and turns to the side of right and virtue…[she steps on Bond’s foot]… but not this one.

I would like to conclude with this little note. In 1983, Kevin McClory – one of the original authors of “Warhead” – produced his own movie version of the story, which starred Connery as Bond. The movie, “NEVER SAY NEVER AGAIN” was not exactly terrible, but it almost seemed like an overblown version of the 1965 movie.

“FANTASTIC BEASTS AND WHERE TO FIND THEM” (2016) Review

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“FANTASTIC BEASTS AND WHERE TO FIND THEM” (2016) Review

After the 2011 movie “HARRY POTTER AND THE DEATHLY HALLOWS, PART II” hit the movie theaters, I had assumed that would be the last film set in J.K. Rowling’s “wizarding world of Harry Potter”. Her 2007 novel, “Harry Potter and the Deathly Hallows” was her last one in a series of seven books. But . . . lo and behold, Warner Brothers Studios, who had released the films based upon her novel, found a way to continue the series. The end result was the release of the recent film, “FANTASTIC BEASTS AND WHERE TO FIND THEM”.

“FANTASTIC BEASTS AND WHERE TO FIND THEM” is based upon a 2001 book written by Rowling. Somewhat. First of all, the book is not a novel, but a “scholarly” book about the magical creatures found in the Harry Potter universe. Second of all, the book was published under the fictional pen name of one Newt Scamander. What Rowlings, who served as the film’s screenwriter, did was used the Newt Scamander pen name and transformed him into the movie’s main character. In the film, British wizard and “magizoologist” Newt Scamander arrives by boat to New York City in the fall of 1926. Newt has arrived in the United States to release a magical creature called the Thunderbird in the Arizona desert. While listening to a sidewalk speech given by a non-magical (No-Maj) fanatic named Mary Lou Barebone, one of his charges – a creature called Nifler escapes from his magically expanded suitcase, which contains other magical creatures. Even worse, he meets No-Maj cannery worker and aspiring baker Jacob Kowalski, and they accidentally swap suitcases. As Newt struggles to regain possession of his suitcase, Nifler and other magical creatures that have managed to escape; he runs afoul of the Magical Congress of the United States of America (MACUSA), thanks to a demoted auror named Porpentina “Tina” Goldstein, eager to regain her position. Between his search for his missing magical creatures, regaining his suitcase from Jacob Kowalski and the MACUSA; Newt has to deal with a creature called the Obscurus, which uses children as host bodies and is causing destruction around Manhattan and not attract the attention of Ms. Barebone and her abused adopted children – including the adolescent Credence Barebone.

When I first saw “FANTASTIC BEASTS AND WHERE TO FIND THEM”, I was surprised to discover that J.K. Rowling was the movie’s sole screenwriter. I found this especially surprising, considering that one of the movie’s producers happened to be Steve Kloves, who had served as screenwriter for seven of the eight “HARRY POTTER” movies. And I must say that I thought she did a pretty damn good job. At first, I thought Rowling had created a disjointed tale. The movie seemed to possess at least three separate plot lines:

*Newt’s search for the missing creatures in his possession

*The Obscurus’ destruction

*Mary Lou Barebone’s anti-magic campaign

But Tina Goldstein finally exposed Newt’s magical suitcase to MACUSA, Newt’s plot line became connected to the story arc regarding the Obscurus. And both story arcs became connected to Mrs. Barebone’s anti-magic campaign when audiences learned that MACUSA Director of Magical Security Percival Graves had recruited Credence to help him locate the child who might be the Obscurus. Seeing how these individual story arcs formed to become part of one main narrative reminded me of the 2008 World War II Spike Lee drama, “MIRACLE AT ST. ANNA”. Speaking of World War II, I was happily surprised to learn that a major plot twist near the end of “FANTASTIC BEASTS” promises to lead to the featured a major plot twist that will serve as part of this new series’ main narrative about the upcoming Global wizarding war that will play out during the rise of fascism and the war. How clever of Rowling.

What else did I like about the movie? Frankly, the production designs. I was very impressed by Stuart Craig and James Hambidge’s re-creation of 1926 Manhattan. For me, among their best work proved to be their creation of a 1920s magical speakeasy operated by a goblin gangster named Gnarlack. Nor am I surprised that the pair managed to earn an Oscar nomination for their work. I was also impressed by Colleen Atwood’s costume designs for the film. One, she did an excellent job in re-creating the fashion of the mid-1920s. More importantly, Atwood put an interesting fantasy twist for the costumes worn by the magical characters. For some reason, the clothes worn by the American wizarding community of the 1920s seemed to be more tasteful and elegant than those worn by the British wizarding community of the late 20th/early 21st century. And guess what? Ms. Atwood also earned an Oscar nomination for her work. The only problem I had with the movie’s technical effects was Philippe Rousselot’s photography. Mind you, I had no problems with the film’s epic sweep. But I did not particularly care for the photography’s brown tint – a color that I personally found unnecessary and rather disappointing. I realize that the story is set during the middle of autumn. But was it really necessary to photograph the movie with an unflattering brown tint to indicate the time of the year?

I certainly had no problems with the movie’s performances. Eddie Redmayne did a marvelous job in portraying the introverted wizard Newt Scamander, who seemed to have an easier job of interacting with the creatures in his care instead of his fellow humans. I also noticed that in one hilarious scene, which involved Newt’s attempt to recapture an African Erumpent at the city zoo, Redmayne displayed a talent for physical comedy by engaging with a “mating dance” with the animal. Katherine Waterston, whom I last saw in the 2015 drama “STEVE JOBS”, gave a very intense, yet engaging performance as the demoted auror, Porpentina “Tina” Goldstein. I was impressed by how Waterston combined two aspects of Tina’s personality – her driving ambition, which has come close to undermining her strong penchant for decency on a few occasions. Dan Fogler gave a very entertaining and funny performance as the No-Maj cannery worker and wannabe baker, Jacob Kowalski. Not only did I find his performance very funny, he also managed to create a strong screen chemistry with both Eddie Redmayne and Alison Sudol, who portrayed Tina’s sister Quennie Goldstein. Sudol was an absolute delight as the carefree witch, who is not only proficient in Legilimens, but who also falls in love with Jacob.

I never thought I would see Colin Farrell in a “HARRY POTTER” film. To be honest, he never struck me as the type. But he seemed to fit quite well in his excellent portrayal of the ruthless and intense Auror and Director of Magical Security for MACUSA, Percival Graves. I was especially impressed with his performance in scenes that featured Graves’ interactions with Credence Barebone – scenes that seemed to hint some mild form of erotic manipulation. Speaking of Mr. Barebone, Ezra Miller was in fine form as the emotionally repressed Credence. The ironic thing about Miller’s performance is that at first, his character seemed slightly creepy. In fact, one could label his Credence a “young American Severus Snape with a bad haircut and no wit”. Thanks to Rowling’s screenplay and Miller’s performance, I came away with a portrait of a sad and abused young man, who hand channeled his anger at those who exploit him via magic.

“FANTASTIC BEASTS AND WHERE TO FIND THEM” marked the first time in which I can recall a magical person of color as a major supporting role – namely the MACUSA’s elegant president Seraphina Picquery, portrayed by Carmen Ejogo. Unlike characters such as Dean Thomas or Kingsley Shacklebolt, President Picquery was not simply allowed to speak a few lines before being swept to the sidelines or off screen. Audiences received more than a glimpse of the glamorous Seraphina. I was also happy to discover that President Picquery was not portrayed as some one-dimensional character without any depth. Thanks to Ejogo’s skillful performance, she portrayed the MACUSA as a pragmatic and ruthless woman who could be quite ambiguous in her efforts to maintain order within the American wizarding community. I found myself equally impressed by Samantha Morton’s portrayal of the religious fanatic, Mary Lou Barebone. What really impressed me about Morton’s performance is that she did not resort to excessive dramatics to convey Mrs. Barebone’s fanatical . . . and abusive personality. Morton gave a subtle and intense performance that conveyed a portrait of a rather frightening woman – especially one who was not magical. The movie also featured solid performances from Jon Voight, Ronan Raftery, Josh Cowdery, Faith Wood-Blagrove and Ron Perlman’s voice. The movie also featured a surprise cameo appearance from Johnny Depp, whose character will play an important role in the sequel films that will follow this one.

I find it ironic that when I had first learned about the plans for “FANTASTIC BEASTS AND WHERE TO FIND THEM”, I was against it. I thought J.K. Rowling and Warner Brothers Studio had taken the Harry Potter franchise as far as it could go after seven novels and eight films. And yet . . . after seeing this film, I immediately fell in love with it. The movie had a few flaws. But I ended up enjoying it, thanks to the complex plot written by Rowling, David Yates’ solid direction, the visual effects and the first-rate cast led by Eddie Redmayne. And now . . . I look forward to seeing more films about the different wizarding communities during the early 20th century.

“SHADOW OF THE MOON” (1957/1979) Book Review

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“SHADOW OF THE MOON” (1957/1979) Book Review

I first became aware of British author, M.M. Kaye back in the early 1980s, when I read her famous 1978 bestseller, “THE FAR PAVILIONS”. Intrigued by the author’s portrayal of the British and Indian societies in 19th century, I read another one of her novels – namely “SHADOW OF THE MOON”.

First published in 1957, “SHADOW OF THE MOON” was re-released 22 years later to cash in on the success of “THE FAR PAVILIONS”. Like the latter, the novel was set in 19th century India. “SHADOW OF THE MOON” told the story of Winter de Ballesteros, the only daughter of an aristocratic Spaniard whose family lived in India and the beloved granddaughter of an English earl. Orphaned at the age of six, Winter is forced to leave India and live with her mother’s family in England for the next eleven years. Betrothed at an early age to Conway Barton, the nephew-in-law of her great-aunt and an official of the East India Company, serving as Commissioner of the Lunjore District, Winter finally leaves England to return to India in order to marry him. Barton’s military aide, Captain Alex Randall of the British East India Company (aka “John Company”), is assigned to act as escort for Winter’s return journey to the East.

Unfortunately for Winter, she encounters two misfortunes upon her arrival in India – the discovery that her new husband is a debauched and overweight drunk who had married her for her fortune; and that she has fallen in love with Alex Randall. She is unaware that Alex has also fallen in love with her. While Winter struggles with her love for Alex and her unhappy marriage, events slowly come to a boil that lead to the outbreak of the Sepoy Rebellion in which Indian soldiers of the Bengal Army rise against the British between May 1857 and June 1858. The violent outbreak of sepoy troops against the rule of the British East India Company forces both Winter and Alex to experience the violence that explodes throughout most of India and acknowledge their feelings for one another.

For a novel that is supposed to be about the famous Sepoy Rebellion of 1857-58, most of it seemed to be set before the rebellion’s actual outbreak. The novel’s first six chapters focused upon Winter’s parents and her childhood in both India and England. The next thirty-four (34) chapters focused upon Winter and Alex’s journey to India, the introduction of Anglo society in India, Winter’s marriage to Conway Barton in Lunjore, the growing tensions between the British rulers and those who have much to resent them, Winter and Alex’s growing feelings for one another . . . well, you get the picture. By the time Winter, Alex and other British residents encounter the rebellion in Lunjore, Chapter 40 had arrived. Only Chapters 40 through 51 featured the actual rebellion.

Ironically, this does not bother me. I suspect that “SHADOW OF THE MOON” is basically a romantic drama with a historical backdrop. M.M. Kaye was born in India to a family that had served the British Raj for generations. She spent most of her childhood and early years of marriage in India, which made her a strong authority on the Anglo-Indian and Indian societies of the British Raj. “SHADOW OF THE MOON” is filled with strong historical facts about Great Britain during the first five decades in the 19th century, the East India Company, the Anglo-Indian and Indian cultures in the 1850s, and the politically charged atmosphere leading up to the Sepoy Rebellion and facts about the rebellion itself.

Reading the novel made it easy for me to see why M.M. Kaye had gained such fame as a historical novelist. Along with Alexandre Dumas, Susan Howatch, John Jakes, George MacDonald Fraser, James Michener, Ken Follet and Cecelia Holland, I consider her to be among the best historical novelists. Not only is “SHADOW OF THE MOON” filled with interesting facts about the British Raj in the 1850s, it is a well-written romantic drama about two people who managed to find love despite the obstacles of a loveless marriage and political turmoil. The two main characters – Winter and Alex – are well written characters that managed to avoid the usually clichés found in many inferior romantic paperback novels. Well . . . Winter and Alex’s characterizations managed to avoid most of the clichés. There are a few clichés about them that seem very familiar:

*Winter’s age spans between 17 and 19 in most of the novel. Most heroines of historical tend to be between the ages of 16 and 21.

*The age difference between Winter and Alex is 13 years – which is typical for the heroine and hero of most historical romances.

*The heroine, Winter, spends most of the novel stuck in an unhappy marriage with a much older man.

Despite these minor clichés, Winter and Alex turned out to be two very interesting and well-rounded characters. Surprisingly, I can say the same of the supporting characters, whether they be British or Indian. A few characters stood out for men – notably Alex’s cynical Indian orderly Niaz; a sharp-tongued British socialite named Louisa “Lou” Cottar; an intelligent and intensely political Indian nobleman who becomes a dangerous enemy of the British Raj by the name of Kishan Prisad; Lord Carylon, an arrogant and temperamental English aristocrat with a strong desire for Winter; and Conway Barton, the latter’s corrupt and narrow-minded husband, who lacks a talent for political administration.

Aside from a few clichés that are a part of Winter and Alex’s characterizations, I have a few other quibbles regarding the novel . . . or Kaye’s writing style. First of all, she had a tendency to describe a historical event or character in a slightly grandiose manner. One example featured the death of a famous military figure named John Nicholson. Kaye also had a bad habit of announcing an important sequence before it unveils . . . taking away any moment of surprise for the reader. This was apparent in the following passage:

“‘Two more days to go’, thought Alex that night, leaning against the wall and watching a quadrille danced at the Queen’s Birthday Ball.

But there were no more days. Only hours.”

In the following chapter, Winter, Alex and a host of other characters experience firsthand, the horror of the rebellion in Lunjore. I would have preferred if the beginning of the Lunjore rebellion had taken me by surprise.

Despite Kaye’s occasional forays into over-the-top prose, she created a sweeping and detailed novel filled with romance, adventure, historical accuracy and well-written characters. Although “THE FAR PAVILIONS” is considered her masterpiece, I must admit that “SHADOW OF THE MOON” remains my most favorite novel she has ever written.

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