Still can't adequately explain just how pissed off I was at the end of this in the cinema, seeing the words:
"To be concluded" on the screen!
What!!!
(thinks I):
"...is this a F*&£ing tv show!?!"
I just paid full price for a cinema ticket, and you can't even bring this "movie" to anything like a self contained conclusion, even if you have another instalment in mind?
Bad film-making!
So now I'm having to "tune in next week" after this cliff-hanger for yet another full price cinema ticket top find out what happens... a disturbing trend to set, I thought.
Also explains why this, and the cartoonish over indulgent next one largely suck... and further pale in comparison to the first / original movie, which is brilliant.
This would have been better on TV, not the cinema screen.
ReviewTwo of my second tier favourite actors come together in a spirited romp “good guys vs. Bad Guys”, except the two good guys Bobby (Denzel Washington) an undercover DEA agent, and Stig (Mark Wahlberg) a covert U.S. Navy Petty Officer are also bad guys, robbing Banks, torching cars and restaurants and killing people, whilst also attempting to murder each other.
Practically a comedy, but with darker overtones and action throughout, the best line in the film is when African-American Bobby turns to caucasian Stig and says…..
….Don’t get all “We Are the World” on me…!! Priceless
There was always something bleak and forbidding about this movie, that put me off watching it from the moment of it's release; Aware of course, of all the buzz and hype surrounding it since that time, I still couldn't get myself into wanting to watch it, as it seemed like a drab, pretentious, arty Merchant / Ivory piece, except set in some miserable wasteland.
...Still, thirty years later, the right mood finally stuck, and I thought: "Why the hell not?"
(I was at a loose end, and it was either this, or the prospect of watching some of those awful housewife "humans" on tv, so I rolled the dice)
Very glad I did, as it seems, to some extent, the promotion and ads mis-sell it somewhat, giving the kind of impressions I stated above....
...Instead, I found this to be quite a magical movie - not sure if I'd go so far as to call it one of those "Magical Realism" stories, but it does have very quirky elements, and a slight tone that could come from a Grimm fairy tale, and plays out like a parable of yore.
What it's a parable of (And I think I still need some getting of my head around, and into it yet), is a woman's voice; That is, more accurately rendered, the voice of woman, and the personal empowerment that proceeds from that, as seen through the eyes of a particular woman.
Opening with Holly Hunter's: Ada, having been married to a man the other side of the world, In New Zealand, and essentially "mailed off" to him on on a long sea voyage, with her daughter from a previous partnership, she carries with this most precious, and personal object - her piano - to express herself, or better yet, communicate with herself...
(In the sense, that her playing of the piano is a sort of personal communion between her and her own soul)
...In a world where she, being woman in this time, is not master of her own destiny.
For she is also mute, as the voice of a child, which is her own internal voice, states in a brief voice over at beginning (and end) informs us is for no real biological or physical reason yet at the same time, not really a matter of choice... she just is.
Her daughter interprets for her, when not at the Piano, which, being left on the harsh weathered beach at their arrival, seems to be, of course, a symbol of her current state - the men refuse to help her take it to her new home.
Of course, her new "master" / husband, in the shape of Sam Neil's: Stewart is a very uptight guy with a very conventionally colonial sense of Victorian propriety, and won't have it in the house, it seems, but agrees to swap it with Harvey Keitel's: Baines, a subordinate "Scottish" (his accent is pretty ropey, alas :) servant of his, who brings it in to his own home, with the intention of drawing Ada over, and perhaps getting to know her a little better than he oughta - crumbs.
A very sensitive, and soft seduction then ensues by degrees, and of course you feel this moving inexorably towards a tragic conclusion, the unempowered / unheard woman caught between her duties to her Husband, and the man she comes to love.
There will be tears before bed-time.
All of which, as I said, could be a very melodramatic, grim story in the telling, especially, as the underlying theme is fundamentally, of course, feminist story, which could get very... er,,, over earnest, and so forth, but, I must repeat: In giving just the right amount of fairy-tale and a sense of the magical, in being framed as a parable, it all actually adds up to a very engaging, engrossing, watch - compulsive viewing, with a wonderful slightly magical air.
Really enjoyed it actually... and would probably watch it again, as it certainly makes you think about the underlying meanings to the symbolic aspects of the movie, and what they say about the world.
I didn't have high expectations for this, but the concert footage is absolutely fantastic. It was previously classified as U for cinema, but got a 12A/12 for the BFI release. Has a great booklet as well. Well worth it for people interested in the 80s UK Ska Revival.
At the time, it felt way off the map in terms of future predictions, as, having no existing tech that could make anything like this remotely possible (V.R. being a blisteringly new concept), and so, firmly in the fantastical, and therefore, nonsensical end of sci-fi - odd.
And the visuals were at the still early stages of CGI (proper - not counting visual "effects" and simple block rendered graphics such as Tron), so the CGI animation has really badly dated now.
However, the underlying story, written by Stephen King, holds up, probably even more as time goes by:
Modern Techy equivalent of "mad scientist" type Pierce Brosnan, fumbles around the mind of local simpleton (And Lawnmower Man) Jeff Fahey' Jobe, as he navigates his brain in a virtual reality space, and jiggers, pokes, and prods with it through this method, in order to see if he can make Jobe smarter, by reconfiguring his noodle.
He does.
...He regrets it.
Though not a fan of such suggestions, this could probably do with a remake, bringing to bear all that has been learned since, technology wise, as well as in terms of brain science :)
(Sorry for using such big wordy speakage from thew world of frowny thinkery!)
Still has it's own charms, and points of interest, in spite of everything.
Another movie that would serve very well as a double header with this movie, of about the same time was one I recall with a young Russell Crowe, and Denzel Washington, called: Virtuosity.
Rated 5/10Escape from New York is, of course, a timeless classic. This, however, is a cheap looking and feeling "Hollywood" version of a John Carpenter film.
Like John Carpenter, minus the Carpenter-isms.
Clunky, paint by numbers cash in on Escape from New York's cult status.
Rated 7/10Firmly in the "Guilty Pleasure" category for me...
..The absolute apex of over the top Eighties-max action / comedy star vehicle era.
Corny, cheesy, Crash, Bang, Wallop, lots of ridiculous action sequences, with improbable technology (The car :)...
Cheesy eighties action one liners (looking back, quite psychotic given you've just killed somebody, that you deliver a punch-line! :)...
Jack Pallance doing his ultimate bad-guy thing, (James Hong is in it too, as a minor baddie), Brion James giving a truly terrible performance as a "cockney" villain (but it is magnificent in it's awfulness!), Terry Hatcher, because... well, why not?!!!, and all redeemed by the presence of the man... the dude... that is: Kurt Russell.
I skipped school with some chums to see this at the cinema.
Pleased to report that all said teenagers went home happy :)
...A blockbuster rental on release for me on a slow week, and pretty much forgotten now, but it is, as I recall, another based on a Philip K. Dick short story, and of course, starring Peter Weller, so both of those things to recommend it.
I'd like to see it again now, to see if it is as good as I remember.
As I recall it, two warring factions of humans on another planet, have fought each other to stand still, and have abandoned some place or other, but left automated killing machines like mines all over the place, and Weller and co. are sent to investigate a mystery without getting minced in the process.
It's like a Phantasm crossed with a low budget pre-cursor to Starship Troopers, minus the Verhoven "humour".
I think I may have attempted to start watching Doom, but got bored, as it was a "Hollywood" idea of what a game conversion should be / star vehicle.
(to be honest, I haven't played a video game though, since PS1 days... it all started to get too: "real" looking, whereas I preferred the charm of low-bit graphics games, that looked like games, and didn't try to look real-world-y. - Original GTA was hillarious and cartoonish... later ones self indulgent and disturbing incel fodder to me... do not understand modern gaming culture at all, and have no desire to do so either! :)