EXTRACTION (2020) – Netflix Original Best Action Movie In Years

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EXTRACTION (2020), a Netflix original action flick starring Thor himself, Chris Hemsworth, premiered last week on the ubiquitous streaming service with a ton of hype and promotion. In fact, the film’s ads definitely had the feel of a theatrical release.

Does this actioner by a first time director known for his stunt work on the Marvel superhero movies live up to the advertising?

The answer is a resounding yes! Not only is EXTRACTION one of the best Netflix-made action movies yet— I enjoyed it much more than last year’s TRIPLE FRONTIER (2019), for example, but it’s also one of the best action movies I’ve seen in a while. Period.

It’s the best non-superhero action movie I’ve seen in years.

EXTRACTION takes place in Dhaka, Bangladesh, where the most powerful drug lord of the land kidnaps the young son of a rival drug lord, who happens to be in prison. This rival drug lord tells his right hand man, Saju (Randeep Hooda) that if he doesn’t rescue his son, his own son will die. Saju knows he can’t do the job on his own, so hires a group of mercenaries to do the job for him, all the while knowing he can’t afford their price, and so from the  get-go he’s planning to double cross them.

The mercenaries are led on the ground by Tyler Rake (Chris Hemsworth), a fearless soldier haunted by some personal demons from his past. Nevertheless, Tyler is very good at what he does. He’d give Rambo a run for his money. And he does successfully find the boy, Ovi (Rudhraksh Jaiswal) but extracting him from Dhaka proves difficult, because the all-powerful drug lord Amir Asif (Priyanshu Painyuli) shuts down the city, and since Saju has double-crossed the team, Tyler is surrounded on all sides with little hope of getting the boy out of Dhaka.

But Tyler has no intention of letting the boy die on his watch.

The best part about EXTRACTION are its action scenes. The action sequences here are second to none. These are hard-hitting violent R-rated fight scenes, and they are shot exceedingly well, including one very long sequence done in a single take, reminiscent of a similar sequence in ATOMIC BLONDE (2017).

The fact that these sequences are so expertly handled comes as no surprise since director Sam Hargrave worked as a stunt coordinator and second unit director on many of the Marvel superhero movies. His expertise is on full display here. It’s an exceptional directorial debut. The camera gets in close to the action, and things happen with such speed you really feel like you are right there in the middle of the combat with the actors.

Hargrave worked as Chris Evans’ stunt double in the CAPTAIN AMERICA and AVENGERS movies. He was the stunt coordinator on CAPTAIN AMERICA: CIVIL WAR (2016), AVENGERS: INFINITY WAR (2018) and AVENGERS: ENDGAME (2019), as well as the aforementioned ATOMIC BLONDE. And that’s just the tip of the iceberg. He has 80 stunt credits going back to 2005. He was also the second unit director on ATOMIC BLONDE and AVENGERS: ENDGAME.

And these action sequences had better be good because the film is almost nonstop action. The first hour is an incredible fight-filled thrill ride. It’s relentless. Things slow down midway so the audience can catch its breath, before picking up again for an intense conclusion. Action fans will not be disappointed.

Nor will fans of good storytelling. The screenplay Joe Russo, based on the graphic novel “Ciudad”by Ande Parks, tells a riveting story that never lets up. Chris Hemsworth’s Tyler Rake is a likeable character, in spite of the bloody path he carves out, and his mission here, to rescue a young boy, even when his superiors tell him to cut his losses and leave the boy behind, is an admirable one. The dialogue is also first-rate.

It’s an excellent screenplay by Russo, who of course is known as a director, as he directed CAPTAIN AMERICA: CIVIL WAR, AVENGERS: INFINITY WAR, and AVENGERS: ENDGAME.

So, yes there’s a big Marvel connection here, solidified even more with the presence of Chris Hemsworth in the lead role. It’s an outstanding performance by Hemsworth. I liked him here every bit as much as I’ve enjoyed watching him play Thor in the Marvel movies.

Randeep Hooda is also excellent as Saju, an ex-special forces soldier who finds himself having to double cross a team of deadly mercenaries pitting him against Rake and rival drug lords in order to protect his own son. The fight scenes between Hooda and Hemsworth are some of the best in the movie.  Had this movie been made back in the 1980s, you could easily imagine Schwarzenegger and Stallone in these roles.

Priyanshu Painyuli makes for a surprisingly suave drug lord Amir Asif, and Golshifteh Farahani stands out as the sexy yet ice-cold coordinator of Tyler’s team, Nik Khan.

And David Harbour who plays Police Chief Jim Hopper on STRANGER THINGS (2016-present) shows up midway through as an old friend who steps up to give Tyler and the boy safe— eh hem—harbor.

I really liked EXTRACTION. It’s one of the best action movies I’ve seen in years, with some of the most exhilarating action sequences ever put on film. It’s that good.

The only drawback is I wished I had seen this one on the big screen. In IMAX. It’s worthy of that kind of viewing.

With EXTRACTION, Sam Hargrave has put himself on the map as a premier action movie director, while Chris Hemsworth has solidified his standing as a truly bona fide action star.

—END—

 

 

 

 

 

AFTERMATH (2017) – Depressing Character Study of Two Men Grieving A Showcase For Arnold Schwarzenegger

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As you look for movies to watch while staying home during the coronavirus pandemic, AFTERMATH (2017) may not be your best choice. It’s hopelessly depressing.

It’s also not that great a movie.

If there is one reason to watch it, it’s for the lead performance by Arnold Schwarzenegger. That’s right. The Terminator himself, here playing a subtle dramatic lead.

I missed this one on its initial release in 2017, which was easy to do, since AFTERMATH is a slow burn drama with not much to get excited about other than the fact that the cast features Arnold Schwarzenegger in a rare dramatic role.

I’ve always been a fan of Schwarzenegger’s, going all the way back to his TERMINATOR heyday and his subsequent action films and comedies. I also enjoyed his low-key horror movie MAGGIE (2015), a film in which he delivered a notable acting performance, and so I was intrigued to see him here in AFTERMATH, a movie in which he portrays a man grieving over the deaths of his wife and pregnant daughter, both of whom died in a plane crash.

AFTERMATH gets off to a solid start. It opens with construction worker Roman (Arnold Schwarzenegger) leaving work early so he can pick up his wife and daughter from the airport. They’re about to celebrate their daughter’s new pregnancy. But when he gets to the airport, he reads that the flight is delayed but there is no information as to when it’s arriving, and then he is asked to come with an airline representative into a private room, and it’s there where he is told that the plane has crashed.

This opening sequence is full of dread, as the audience sees where this is going before Roman does, since he’s so full of euphoria over seeing his wife and daughter, and the process of his being told about the crash is as painful as one can imagine. It’s really well-acted by Schwarzenegger. There’s no other way to say it. He’s really good here.

The film then jumps back in time moments before the crash, and we meet air traffic controller Jake (Scoot McNairy) who finds himself solo in the control tower at the airport, and through a series of problematic events including a faulty phone line becomes distracted, and on his watch two planes collide in midair. This is also a devastating sequence, well-executed by the film’s director Elliott Lester, and well-acted by McNairy.

So, the first twenty minutes or so of AFTERMATH are very, very good. But then the film really slows down and for a long time seems to go nowhere, and that’s because it doesn’t.

The story follows the parallel stories of Roman and Jake. With Roman, we watch him grieve over the loss of his wife and daughter, unable to move on, unable to find closure. He wants someone from the airlines to apologize to him for the deaths of his wife and daughter, but no one gives him that apology.

Jake is completely devastated by the crash and pretty much loses it, so much so that his wife and young son have to move out of their home. Eventually, Jake takes the airline up on their offer to relocate him to a new state with a new name and a new job, since his name had been made public in the media and as a result he had been receiving death threats.

As these two stories play out, it becomes obvious that these two characters are destined for a meeting, and how that will occur and what will happen when it does are questions that for the bulk of the film remain intriguing. However, the film’s climax is a big–-that’s it?–– which for me was a huge letdown. For a movie that is as slow burn and depressing as this one is, you really need a thought-provoking climax to lift it up, but this movie simply doesn’t have that moment. Its answer is violent and disappointing.

The very ending of the film is a bit better, but by that time it’s too little too late.

The main reason to see AFTERMATH really is Arnold Schwarzenegger. He really does deliver a strong performance in this movie. His portrayal of Roman is right on the money and comes off as a man who just can’t move on from the deaths of his wife and daughter. It’s natural and sad. You don’t watch him and think he’s acting. You believe he’s Roman.

Scoot McNairy is equally as good as the emotionally scarred air traffic controller Jake, a man who outwardly seems more unhinged than Roman, although Roman keeps most of his emotions inside. McNairy has been in a bunch of movies, including the lead role in Gareth Edwards’ MONSTERS (2010).

The screenplay by Javier Gullon starts off well with two riveting sequences, the one where Roman is informed about the plane crash, and the other where Jake is in the control tower when it happens. These two sequences are both very well-written, but after that things just slow down, and many opportunities are missed. The story shows the pain of these two men, but as it goes along, the question arises, so where is this all going? And it’s the answer to this question that is so disappointing.

Director Elliott Lester shares a similar fate in that the first two sequences are better than the rest of the movie, although I thought the gloomy look and feel of this movie was effective throughout. Lester captures the sadness of these two men with the ever-present cloudy and gray cinematography.

While the pacing of the movie was slow, I was not bored, as I was anticipating the confrontation between Roman and Jake, and Lester does a nice job gradually building to this fated meeting. But when Roman and Jake finally do meet, it changes the film and seriously takes away all that had come before it. It’s not that it’s an unrealistic moment. It’s simply a disappointing one. The audience has just invested nearly an hour and half together with these two grieving characters, especially with Roman, and the moment simply detracts from the bonds built during this time.

AFTERMATH is a moody and sorrowful character study of two men dealing with different kinds of grief following a tragic plane crash. It starts off well before settling in for a slow burn of a narrative that ultimately has little to offer in the way of a thought-provoking conclusion.

—END—

 

 

 

 

CHARLIE’S ANGELS (2019) – New Reboot by Elizabeth Banks Is Stylish, Mindless, and Fun

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The original CHARLIE’S ANGELS TV show (1976-1981) premiered when I was in middle school, so at the time, for obvious reasons, the show caught my attention. But as an adult seeing it years later it never did much for me, and I really never considered myself much of a fan.

Likewise, although the rebooted CHARLIE’S ANGELS movies in the early 2000s starring Cameron Diaz, Drew Barrymore, and Lucy Liu performed well at the box office, I wasn’t a fan of these movies either as I didn’t really enjoy the move to turning the series into a comedy.

So, if you asked me if I’d be seeing yet another reboot of the series, my answer would most likely be no. I would have pretty much zero interest in seeing it.

Except when I read that Elizabeth Banks, an actress I enjoy a lot, was directing, writing, and starring in it. Furthermore, the cast was also going to include Kristen Stewart, another actress I really enjoy, and so against my better judgment, I went to the theater to check out this latest edition of CHARLIE’S ANGELS (2019).

I was not disappointed.

Elizabeth Banks’ CHARLIES ANGELS is a stylish polished action flick with women doing all the butt kicking, and this time, even though the tone for the most part is light, this story does not hide behind comedy to make its point. These women kick butt for real, and it’s believable.

One of my favorite scenes is the film’s finale where the villain boasts that he has the Angels surrounded, and he has, with a small army of henchmen at his disposal, but it’s the Angels who have the last laugh, as unnoticed among these macho thugs stand a multitude of beautiful women, guests of the elegant party they’re all attending, and these women are not there just to be looked at. They’re there to fight. It’s a moment that in a quiet subtle way reveals that men so often aren’t even paying attention to the women in the room, as if they couldn’t possibly be a threat. The Angels’ back-up are literally invisible to their enemies, as they hide in plain sight. It’s a great moment in what otherwise is a pretty standard actioner.

The action scenes are fun and exciting, and Banks handles them well. She has less success with the screenplay which provides a forgettable story that serves only as a bare framework for the action scenes. Banks scores higher with some of the dialogue, which is entertaining, and some of the tweaks she makes to the ANGELS canon, like having “Bosley” be a code name for multiple handlers around the globe.

The plot is about a device that is about to revolutionize the energy industry, but an employee of the company developing the device, Elena Houghlin (Naomi Scott) discovers a flaw and realizes it could easily be turned into a weapon. Her efforts to warn her superiors are ignored, and so she turns to one of the “Bosleys”  (Djimon Hounsou) for help.

When the device is stolen, the Angels jump into action led by Sabina (Kristen Stewart) and Jane (Ella Ballinska), along with Elena who eventually becomes the latest Angel recruit.

As I said, the plot is pretty meager.

The best performance in the movie belongs to Kristen Stewart— Bella who? Stewart has come a long way from the TWILIGHT series, and her performance here as the quirky Sabina who has no filter for when it comes to saying the wrong thing is one of the liveliest parts of the movie.

But I also enjoyed Naomi Scott as the green Elena Houghlin who becomes Angel material while working on this job. Likewise, Ella Balinska is fun and believable as Jane, the former MI6 agent now turned Angel. Basically, the spirited performances by all three of these actors lifts the material to the point where I didn’t care that the plot was rather dumb. They made the story enjoyable.

Writer/director Elizabeth Banks plays the chief Bosley, and Patrick Stewart hams it up as the original Bosley who doesn’t take “retirement” all that well. Stewart is always fun to watch and his presence adds a lot to this one.

Jonathan Tucker makes for a formidable assassin named Hodak who would have been memorable had he possessed some personality.

And in a fun reveal at the end, we get to see who is now running the Angel’s organization for Charlie, and it’s an original cast member!

This 2019 CHARLIE’S ANGELS is certainly a mixed bag. The nothing story does the film no favors, but the spirited performances by the three leads and effective direction by Elizabeth Banks lift it to a level that makes it a rather enjoyable if not mindless action film.

Hey, men like Stallone and Schwarznegger have built their careers making mindless movies like this. If CHARLIE’S ANGELS says anything, it’s that women can make them too.

—END—

TERMINATOR: DARK FATE (2019) – Linda Hamilton Returns to the Series, As Do the Same Plot Points

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The buzz leading up to TERMINATOR: DARK FATE (2019), the sixth film in the TERMINATOR franchise, was that Linda Hamilton was returning to the series as iconic character Sarah Connor.

Hamilton had been absent since the second film in the series, TERMINATOR 2: JUDGMENT DAY (1991). Her return after so many years reminded me of a similar return last year, when Jamie Lee Curtis reprised her Laurie Strode role in the latest HALLOWEEN movie, innovatively titled, eh hem, HALLOWEEN (2018). While Curtis was fine in her return, the movie wasn’t. The 2018 HALLOWEEN was pretty bad.

The good news here is Linda Hamilton fares better, because TERMINATOR: DARK FATE is a much better movie than HALLOWEEN (2018). But don’t break out the champagne yet.

See, while I certainly liked TERMINATOR: DARK FATE, as the sixth film in the series, there is a lot that is redundant here. As a result, this latest Terminator tale while well-made and entertaining is far from anything special.

If you’ve seen any of the other TERMINATOR movies, the plot of this latest entry will no doubt be familiar. A woman named Grace (Mackenzie Davis) is sent from the future to protect a woman named Dani (Natalia Reyes) in the here and now from a murderous Terminator, the Rev-9 (Gabriel Luna), also sent from the future, his mission being to kill Dani for reasons the movie doesn’t want to tell us at first, but you can be assured that it has something to do with her saving the future from the murderous machines, the thinking being, eliminate her in the past, and the machines win in the future.

When will these villains in the future realize that this sort of plan never works? At the end of every TERMINATOR movie, these machines from the future fail. Six films into a series with the same plot point grows kinda tired.

Anyway, old friend Sarah Connor (Linda Hamilton) has been traveling the countryside destroying Terminators from the future whenever they arrive, as she receives anonymous tips from an unkown secret source alerting her of these arrivals, which is how she meets up with Grace and Dani and helps them fight off the Rev-9.

Why is this still happening when Sarah Connor supposedly saved the future back in the day? It turns out she saved only one future. While her actions at the end of TERMINATOR 2: JUDGMENT DAY saved the world from the evil Sky Net corporation, it turns out another evil company took over and basically did the same thing, create machines that eventually took on the human race.

Yeah, right. I mean, seriously, what are the odds?

Another old friend also shows up, as Arnold Schwarzenegger returns as a variation of the Terminator from TERMINATOR 2, who’s been living the dream since the 1990s and learning what it is to be human, and so he too joins the fight to save Dani from the Rev-9.

I say “variation” because TERMINATOR: DARK FATE not only chooses to ignore the last three TERMINATOR movies, but it also changes events that happened at the end of TERMINATOR 2. I can’t say that I enjoyed this change. It always feels like a cheat to me when filmmakers go back and change things in a story that has been known for years. No. Sorry. That’s not what happened. This is what happened.

Anyway, this twist didn’t ruin TERMINATOR: DARK FATE for me, but it didn’t help either.

Linda Hamilton enjoys a successful homecoming as Sarah Connor. Older, grizzled, and just as tough, Hamilton gives Sarah Connor a triumphant return to the big screen.

Lost in the Linda Hamilton buzz was that Arnold Schwarzenegger also came back for this one. Of course, his return is less of a story since he’s only missed one Terminator installment, the fourth one, TERMINATOR SALVATION (2009).  Still, Schwarzenegger makes the most of his screen time, and he has some of the better moments in the movie, a lot of them of the humorous variety.

Which reminds me: one of the best parts of the original TERMINATOR back in 1984 was that Schwarzenegger’s Terminator character was the villain. In subsequent movies, his character joined the good guys, and while this was fun, the character was never as good as he was in that first movie when he was the villain. We’d be looking at quite the different TERMINATOR series had that change not been made, and I think you could make the argument that it would have been a better series.

Mackenzie Davis is very good as Grace, the enhanced human sent back from the future to protect Dani from the latest Terminator threat. She’s believable in her action scenes, and she has enough personality to hold her own next to Hamilton and Schwarzenegger.

The same can be said for Natalia Reyes as Dani. She’s also quite good. And when these four are on-screen together they do generate some chemistry and are fun to watch.

Getting back to Mackenzie Davis for a moment, she was also memorable in TULLY (2018), where she co-starred with Charlize Theron, and she also appeared in THE MARTIAN (2015).

Who’s not overly memorable here is Gabriel Luna as the latest Terminator, the Rev-9. It’s not really Luna’s fault. The character isn’t given much personality. He’s mostly based on CGI effects.

And yes the effects here are all top-notch, as are the action scenes. In fact, some of the fight sequences and chase scenes are among the best in the entire series. Director Tim Miller, who directed DEADPOOL (2016), does a masterful job with the action sequences. Everything looks great, the sound is awesome, the stunts and CGI all believable.

If only these well-orchestrated events had resonated on an emotional level.

The screenplay by David S. Goyer, Justin Rhodes, and Billy Ray does what it sets out to do, in that it tells a Terminator story and it connects all the dots so things make sense. But the problem is that it’s pretty much the same Terminator story told in all the movies, with the exception of TERMINATOR SALVATION, which told a somewhat different tale. Ironically, TERMINATOR SALVATION tends to be the least favorite of the series among Terminator fans.

The fact is in spite of all the technical success here, nearly everything in this story rang hollow. There wasn’t one moment in the film that reached out and grabbed me. It all felt like deja vu. Even down to the ending. Yup, if you’ve seen one TERMINATOR movie, you’ve seen them all. Don’t get me wrong. I like the TERMINATOR series. But originality hasn’t been the series’ strongpoint. The movies are very repetitive and really haven’t made much of an effort to tell different and new stories. They just sort of repeat the formula from the first movie.

My favorite TERMINATOR move remains the first one, THE TERMINATOR (1984). I also really like TERMINATOR 2: JUDGMENT DAY. After that, they’re all about the same. Entertaining, action-packed, satisfying, but not very original.

TERMINATOR: DARK FATE benefits from having two of the series’ original stars, Linda Hamilton and Arnold Schwarzenegger, back on the big screen together, along with some talented newcomers, and superb special effects and action sequences, but at the end of the day, you’ve seen this shtick before.

Even the series’ catchphrase seems to return with every film, I’ll be back.

Which is fine. I just wish once in a while they’d be back with something different.

—END—

LEADING LADIES: JAMIE LEE CURTIS

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Jamie Lee Curtis as Laurie Strode in HALLOWEEN (1978)

Welcome back to LEADING LADIES, that column where we look at the careers of leading ladies in the movies, especially horror movies.

Up today it’s Jamie Lee Curtis.

Curtis of course burst onto the horror movie scene with her signature role of terrorized babysitter Laurie Strode in John Carpenter’s groundbreaking classic, HALLOWEEN (1978). And with some perfect symmetry, Curtis’ most recent role is once again Laurie Strode in the latest entry in the HALLOWEEN universe, once more titled, curiously enough, HALLOWEEN (2018). Curtis’ career has come full circle. Of course, she still has a whole lot more acting to do.

In HALLOWEEN (1978), Curtis was so memorable as Laurie Strode not because she screamed a lot.  She did not scream her way to fame a la Fay Wray fifty-five years earlier in KING KONG (1933). No, Curtis’ performance was noteworthy because she created in Laurie a vulnerable yet resilient character who faced doubts about dating and boys but was more than up to the task of protecting the children she babysat from masked killer Michael Myers.

The original HALLOWEEN is famous because of John Carpenter’s outstanding direction, along with his now iconic music score. I was 14 when HALLOWEEN came out, and I still remember all the hype and excitement surrounding it.  Sold out showings, and long lines of people waiting to see it, often spilling outside the theater into the parking lot. I also remember Siskel and Ebert’s initial review of the movie, a review in which they both praised Carpenter’s phenomenal direction. I don’t remember how at 14 my friends and I were able to buy tickets to this R rated feature, but somehow we did, as we saw this one at the theater.

I remember the theater erupting in screams during the movie. I also remember Jamie Lee Curtis.  When the movie was done, and I had returned home, I couldn’t get Carpenter’s music out of my head, and I recalled all the scares, and the image of Michael Myers with his now iconic mask, and this actress named Jamie Lee Curtis.  There was something about her that really resonated with me.  The best way I can describe it is I felt as if Laurie Strode was someone I knew in real life. As I’ve watched and re-watched HALLOWEEN over the years, I’ve attributed this feeling I had back in 1978 to a very authentic performance by Curtis.  I felt like I knew her because she acted like a real person.

Here’s a partial look at Curtis’ career, as we examine some of her 74 screen credits:

HALLOWEEN (1978) – Laurie Strode – Curtis’ signature film role was also her film debut.  She had appeared in numerous TV shows before this, including COLUMBO (1977) and CHARLIE’S ANGELS (1978) but this was the first time she appeared on the big screen. And she has never looked back.  Quite the film debut. In addition to the top-notch direction and music score by John Carpenter, and the presence of Donald Pleasence, Jamie Lee Curtis is easily one of the best parts of HALLOWEEN (1978).

THE FOG (1980) – Elizabeth Solley – Curtis stars in John Carpenter’s next horror movie following HALLOWEEN. At the time, Carpenter was a victim of his own success. THE FOG was not well-received by critics in 1980. Siskel and Ebert expressed their disappointment, citing that the film lacked a definitive threat, a la Michael Meyers. However, the movie’s reputation has strengthened over the decades. It’s now considered one of Carpenter’s best films. Not only that, but it’s high on a lot of people’s lists for best horror movies period.  I definitely like this one a lot.  I still prefer HALLOWEEN though. Curtis, for her part, is fine here, but her role is not the lead, and she makes much less of an impact than she did in HALLOWEEN.

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Jamie Lee Curtis in THE FOG (1980)

PROM NIGHT (1980) – Kim – John Carpenter’s HALLOWEEN gave birth to the slasher movie, and suddenly everyone and their grandmother was making horror movies with masked knife-wielding killers terrorizing teenagers. This one’s not directed by Carpenter, but does star Jamie Lee Curtis. It did well on its initial release and has established a reputation as a decent slasher flick, but this one never did anything for me.  For me, not even the presence of Jamie Lee Curtis could save this HALLOWEEN rip-off.

TERROR TRAIN (1980) – Alana – another crazed killer attacking teenagers, this time on a train.

ESCAPE FROM NEW YORK (1981) – Narrator/Computer Voice (uncredited) – An uncredited Curtis provides the voice of the narrator and computer in this exciting futuristic crime thriller by John Carpenter, notable also for Kurt Russell’s memorable performance as Snake Plissken.

HALLOWEEN II (1981) – Laurie Strode – Inferior sequel to HALLOWEEN. Rick Rosenthal takes over the directing duties from John Carpenter, and his vision here is far less impressive.  Curtis is okay, but sadly, spends most of the movie confined to a hospital bed and in and out of a medicated stupor.  While this really is not a good movie, it is actually better than most of the later HALLOWEEN films, some of which are really, really bad.

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With Donald Pleasence in HALLOWEEN II (1981)

HALLOWEEN III: SEASON OF THE WITCH (1983) – Curfew Announcer/Telephone Operator (uncredited) – A disaster upon its initial release, this was part of John Carpenter’s vision to create a HALLOWEEN series featuring different horror stories each year and not necessarily be about Michael Myers, but film audiences wanted Myers and didn’t really accept this movie. That being said, this one has enjoyed a growing reputation over the decades, and there are some (not me) who consider this to be the best of all the HALLOWEEN movies.

TRADING PLACES (1983) – Ophelia – This funny comedy by director John Landis stars Dan Aykroyd and Eddie Murphy. Murphy, who was insanely popular at the time due to his stint on Saturday Night Live, is the main reason to see this one, but Jamie Lee Curtis is also hilarious in her role as prostitute Ophelia. She makes the jump into a non-horror movie quite nicely.

GRANDVIEW U.S.A. (1984) – Michelle “Mike” Cody – Drama in which Curtis co-stars with C. Thomas Howell and Patrick Swayze that asks the question, can the young folks from Grandview U.S.A. pursue their dreams and shed their small town roots? Nothing special.

A FISH CALLED WANDA (1988) – Wanda Gershwitz – co-stars with John Cleese, Kevin Kline, and Michael Palin in this uproarious comedy written by Cleese. Kline won an Oscar for Best Supporting Actor.

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Michael Palin, Jamie Lee Curtis, and Kevin Kline in A FISH CALLED WANDA (1988)

FOREVER YOUNG (1992) – Claire Cooper – co-stars with Mel Gibson who plays a 1939 pilot awoken from a cryogenic sleep in 1992. Written by J.J. Abrams.

TRUE LIES (1994) – Helen Tasker – plays the wife of a spy, played by Arnold Schwarzenegger, in this entertaining action comedy by director James Cameron.

FIERCE CREATURES (1997) – Willa Weston – Reunited with her co-stars from A FISH CALLED WANDA, John Cleese, Kevin Kline, and Michael Palin, this time with lesser results.

HALLOWEEN H20 – TWENTY YEARS LATER (1998) -Laurie Strode- Curtis returns to the HALLOWEEN series after a three film hiatus, and the emphasis returns to Laurie Strode, still dealing with the trauma caused by Michael Myers twenty years earlier. The masked killer of course once more sets his sights on terrorizing Laurie. Some girls have all the fun. This film was well-received when it first came out, but it hasn’t aged all that well. That being said, I still like this one a lot.

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Facing fear in HALLOWEEN H20 (1998)

HALLOWEEN: RESURRECTION (2002)- Laurie Strode – Curtis returns as Laurie Strode for about two seconds before her character is abruptly killed by Michael Myers in the most undramatic and anticlimactic of ways. By far, the absolute worst of all the HALLOWEEN movies.

FREAKY FRIDAY (2003) – Tess Coleman – co-stars with Lindsay Lohan in this remake of the Disney classic.

SCREAM QUEENS (TV Series) (2015-2016) – Dean Cathy Munsch- TV horror/comedy series about a— you got it— a crazed serial killer terrorizing, among other places, a college campus.

HALLOWEEN (2018) – Laurie Strode – Curtis comes full circle, playing Laurie Strode once again, this time in a movie that ignores every other HALLOWEEN movie in the series except the original. Lots of hype and box office success, but ultimately this one was a letdown. Curtis’ scenes and storyline are the best parts, as she is once again still dealing with the trauma from Michael Myer’s original attack, now forty years earlier. Everything else in this film is pretty bad. A major disappointment.

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Taking on Michael Myers yet again in HALLOWEEN (2018)

And that wraps things up for this edition of LEADING LADIES.

Join me again next time when we check out the career of another Leading Lady.

Thanks for reading!

—Michael

 

 

 

SKYSCRAPER (2018) – Fire Flick Fails to Ignite

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skyscraper

It’s THE TOWERING INFERNO (1974) meets DIE HARD (1988)!

Er, no.

SKYSCRAPER (2018), the latest action adventure movie starring Dwayne “The Rock” Johnson, features Johnson as a man who takes it upon himself to rescue his family from a burning skyscraper, all the while fending off a group of militant baddies.

Which sounds like it might be a lot of fun in a mindless sort of way, but sadly at the end of the day it really isn’t.  And that’s because the more this one goes on, the more superficial and unbelievable it becomes.

SKYSCRAPER actually has a jarring pre-credit sequence, as an F.B.I. Hostage Rescue team led by Will Sawyer (Dwayne Johnson) moves in to quell a volatile hostage situation, but things go badly, there is an explosion, and when Will awakes he’s lost part of his leg, and his whole outlook on life has changed.

The story picks up years later where Will now works as a security consultant. He and his wife Sarah (Neve Campbell) and their two children are in Hong Kong as Will is on a job assessing the newest and tallest skyscraper in the world, three times as tall as the Empire State Building.

What Will doesn’t know is that a ruthless mobster named Kores Botha (Rolland Moller) is seeking revenge against the building’s owner Zhao Long Ji (Chin Han) and plans to burn the building down and frame Will in the process.  Even worse, Sarah and the children find themselves trapped inside the inferno. Yep, you know you’re having a bad day when you’re framed for arson and your family is trapped inside the building you’re blamed for burning!

What’s a guy to do? Well, if you’re Dwayne Johnson, you take matters into your own hands and scale the outside of the building like Spiderman and put yourself in position to both put out the fire and beat back those bad guys, not to mention saving your wife and kids in the process. To give the story some credit, things don’t go as planned, and Will’s wife Sarah actually has a large part in saving the day as well, and while I liked this, there’s still no getting around that taken as a whole the story is flat-out ludicrous.

Director Rawson Marshall Thurber wrote the screenplay which is pretty much just an excuse to showcase a fiery skyscraper and have folks perform lots of incredible stunts. I never really bought into any of these characters or the situations they were in. It possesses as much credence as an old Bugs Bunny cartoon.

I somewhat expected this going in. I mean, based on the trailers, I wasn’t expecting a hard-hitting thriller.  But a little believability goes a long way.  Sadly, that’s a concept that is completely missing from this flick.

I generally like Dwayne Johnson, and so I certainly wasn’t dreading seeing this one. He has a likable screen persona, and he also has an Arnold Schwarzenegger thing going where the films he’s in are that much better because he’s in them. Of course, in general, Schwarzenegger used to be helped by some pretty solid scripts. That’s not the case here with SKYSCRAPER.

That being said, Johnson’s presence helps here up to a point. I enjoyed watching him early on, but as the film goes on and the premise wears thin, in that the story grows less believable and the stunts do as well, he becomes less of a factor. And like I said, the script doesn’t help him. He gets few if any memorable lines or one-liners. Arnold would not approve.

His character Will also has a prosthetic leg, and I thought this might be featured more in the story, but it really isn’t. On the one hand, that’s a good thing. I mean, it’s not like his character is marketed as someone who shouldn’t be effective because of his leg, and he has to overcompensate for it. It’s barely mentioned at all. But as such, I did wonder what its purpose was in the story. It doesn’t seem to have one.

Neve Campbell delivers the best performance in the film as Will’s wife, Sarah.  She’s a natural as the dutiful loving wife, and the best part is she also gets to show off her tough girl chops as Sarah does quite a bit here in the rescue/battle bad guys department. It’s not the case at all where she needs Will to rescue her. In fact, it’s quite the opposite.

The rest of the cast is just okay. Roland Moller is rather dull as villain Kores Botha. He never rises above the standard movie villain. And he’s not really in the film until its second half and so for most of the movie he doesn’t have an impact.

Chin Han is just as dull Zhao Long Ji, the man who designed, built, and owns the building.  Byron Mann plays Inspector Wu, a police officer monitoring the situation outside the building, but that’s about all he does. He’s one of the least effective law enforcement officers I’ve seen in a movie in a while.

Speaking of which, one of the plot points is that the building is burning out of control because the skyscraper’s anti-fire system has been disabled.  I guess the folks in this movie have never heard of a fire department. We never see any fire fighters or rescuers attempting to fight the fire or save the people inside. They’re on the ground surrounding the building, but just what they’re doing there I guess is the story for another movie since in this flick we don’t see them doing much of anything.

And rounding out the dull character list is Hannah Quinlivan as a beautiful assassin named Xia. She looks good but like the rest of the supporting cast doesn’t do all that much.

Director Rawson Marshall Thurber does an okay job.  Strangely, the fire scenes are some of the weakest in the movie.  There’s so much fire everywhere it’s often difficult to see what’s going on. And none of it looks terribly realistic.

Thurber struggles with the action scenes as well. The fight scenes aren’t memorable, other than one early on between Will and his buddy who has betrayed him. That was a good sequence, but the rest fall flat.  As do the rescue scenes, mostly because the outcome is never in doubt. I mean, do you really expect anything but a happy ending for Dwayne Johnson’s character and his family?

I enjoyed the first half of SKYSCRAPER.  Dwayne Johnson was fun to watch and for a while carried this movie.  Neve Campbell also added a lot. But as the film went on, it became a series of dull meaningless action and rescue scenes that never really caught on or became something more.

Yup, this one simply failed to ignite.

—END—

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.crossroadpress.com. Print version:  $18.00. Includes postage! Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com.  Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For_the_love_of_Horror- original cover

Print cover

For the Love of Horror cover (3)

Ebook cover

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com. Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

 

 

 

LEADING LADIES: Linda Hamilton

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linda hamilton the terminator

Linda Hamilton in probably her most famous role, as Sarah Connor in THE TERMINATOR (1984).

Welcome back to LEADING LADIES, the column where we look at leading ladies in the movies, especially horror movies.

Today on LEADING LADIES we look at the career of Linda Hamilton, who helped define 1980s cinema with her signature performance as Sarah Connor in THE TERMINATOR (1984).

In addition to her iconic portrayal of Sarah Connor in the TERMINATOR movies, Hamilton is also known for her role as Catherine Chandler on the TV series BEAUTY AND THE BEAST (1987-89).  Linda Hamilton has always been a favorite of mine, in spite of appearing in one of the worst monster movies ever made, KING KONG LIVES (1986)— by far the worst King Kong movie ever made.

Hamilton has 75 screen credits to date, and she’s still actively making movies today. Here’s a partial look at her career so far:

NIGHT-FLOWERS (1979) – Wafer – Hamilton’s film debut in a movie about rape and murder at the hands of two disturbed Vietnam vets.

RAPE AND MARRIAGE:  THE RIDEOUT CASE (1980) – Greta Rideout – Hamilton has the lead role in this TV movie based on the true story of Greta Rideout (Hamilton), an abused wife who was constantly raped by her husband John (Mickey Rourke).  The movie tells the story of how she fought back and charged him with rape, even though they were married.  Written by Hesper Anderson, who would go on to earn an Oscar nomination for her co-written screenplay for CHILDREN OF A LESSER GOD (1986) .

TAG:  THE ASSASSINATION GAME (1982) – Susan Swayze –  once again playing the lead, this time co-starring with Robert Carradine in a tale about a college assassination game turning deadly as it becomes the real thing.  Written and directed by Nick Castle, most famous for playing Michael Myers in the original HALLOWEEN (1978).

SECRETS OF A MOTHER AND DAUGHTER (1983) – Susan Decker – TV movie drama about a mother and daughter involved with the same man.  Katharine Ross plays the mother, Linda Hamilton the daughter, and Michael Nouri the man.

HILL STREET BLUES (1984) – Sandy Valpariso – recurring guest spot role on four episodes of Season 4 of the critically acclaimed TV show HILL STREET BLUES.

CHILDREN OF THE CORN (1984) – Vicky – big screen adaptation of the Stephen King short story was the first time I saw Linda Hamilton in a movie, and all I can say is I’m glad she made THE TERMINATOR that same year, because I did not like CHILDREN OF THE CORN at all and would have quickly forgotten Hamilton if not for her performance in THE TERMINATOR.  In spite of the source material, CHILDREN OF THE CORN is a pretty awful horror movie.

THE TERMINATOR (1984) – Sarah Connor – the movie that put Linda Hamilton on the map, as well as Arnold Schwarzenegger and James Cameron.  Iconic movie, one of the most memorable from the 1980s, so much so that in terms of movies, it arguably defines the decade.  The movie that propelled Arnold Schwarzenegger to superstardom, and gave him his signature line, “I’ll be back.”  Also director James Cameron’s first hit, coming before ALIENS (1986) and long before TITANIC (1997).

linda hamilton terminator end

A girl and her dog.  Linda Hamilton and a canine friend in THE TERMINATOR.

Hamilton plays Sarah Connor, the target of Schwarzenegger’s Terminator, who’d been sent back in time to kill her, since she gives birth to the man responsible for leading the resistance against the machines in the future, and so the machines decide that if they kill his mother, he’ll never exist.  Of course, you’d think it would just be easier to kill him. Pure fluff, but masterfully done, and Hamilton is excellent as the unlikely heroine, a young woman who sees herself as a failure, then victim, and ultimately rises up as the savior of the human race.  By far, my favorite Linda Hamilton performance.

SECRET WEAPONS (1985) – Elena Koslov/Joanna – TV movie where Hamilton plays a Russian spy.  Directed by Don Taylor, who during his long prolific career directed several notable genre films in the 1970s, including ESCAPE FROM THE PLANET OF THE APES (1971), THE ISLAND OF DR. MOREAU (1977), and DAMIEN:  OMEN II (1978).

BLACK MOON RISING (1986) – Nina – Hamilton plays a car thief in this tale of thieves, FBI agents, and a super car, the “Black Moon.”  Co-starring Tommy Lee Jones and Robert Vaughn.  Story by John Carpenter, who also co-wrote the screenplay.

KING KONG LIVES (1986) – Amy Franklin –  If there’s one movie that Linda Hamilton should not have made, it’s probably this one.  Why in the world would director John Guillermin, whose career was nearly destroyed by his first Kong venture KING KONG (1976) ever agree to make a sequel ten years later?  Bad move, John!  This horrible sequel has gone down in film history as the worst Kong movie ever. And whereas the 1976 KING KONG has aged well and has gained more respect over the decades, the same can’t be said for this awful sequel.  It’s still as bad as it ever was.

GO TOWARD THE LIGHT (1988) – Claire Madison – TV movie about a young couple caring for their child who has been diagnosed with AIDS.  Co-starring Richard Thomas.

BEAUTY AND THE BEAST (1987-89) – Assistant District Attorney Catherine Chandler- Hamilton’s second most famous role, after Sarah Connor in THE TERMINATOR, this modern-day update of the Beauty and the Beast tale featured Ron Perlman as the beast and Hamilton as the beauty, an assistant district attorney in New York City.

linda hamilton-beauty-and-the-beast

Linda Hamilton and Ron Perlman in the TV show BEAUTY AND THE BEAST.

MR. DESTINY (1990) -Ellen Burrows – Comedy fantasy starring James Belushi and Michael Caine.

TERMINATOR 2:  JUDGMENT DAY (1991) – Sarah Connor- Hamilton reprises her role as Sarah Connor in this big budget sequel to THE TERMINATOR which featured some of the most cutting edge special effects of its day.  This time around Hamilton’s Sarah Connor is a lean mean fighting machine, while Arnold Schwarzenegger’s Terminator is warm and fuzzy.  Yup, in this sequel, Arnold plays a  “good” Terminator, helping the humans fight off an even more advanced and dangerous Terminator from the future.  Once again written and directed by James Cameron.

linda hamilton terminator 2

A leaner, meaner Linda Hamilton in TERMINATOR 2:  JUDGMENT DAY (1991)

SILENT FALL (1994) – Karen Rainer – co-stars with Richard Dreyfuss and John Lithgow in this thriller about an Autistic boy who witnesses his parents’ double murder.

A MOTHER’S PRAYER (1995) – Rosemary Holmstrom – TV movie about a woman (Linda Hamilton) diagnosed with AIDS trying to raise her son as a single mother with the knowledge that she won’t be around for long.  Also starring Bruce Dern and Kate Nelligan.

DANTE’S PEAK (1997) – Rachel Wando – disaster movie about an erupting volcano.  With Pierce Brosnan.

RESCUERS:  STORIES OF COURAGE:  TWO COUPLES (1998) – Marie Taquet- TV movie about citizens rescuing Holocaust victims.

THE COLOR OF COURAGE (1998) – Anna Sipes – based on a true story, the movie chronicles the relationship between a white woman and a black woman.

BATMAN BEYOND:  THE MOVIE (1999) – Dr. Stephanie Lake – lends her voice to this animated Batman film.

SILENT NIGHT (2002) – Elisabeth Vincken- TV movie about a German mother (Hamilton) and her son on Christmas Eve in 1944 who find themselves bringing German and American soldiers together for one night.  Based on a true story.

MISSING IN AMERICA (2005) – Kate – Drama about a Vietnam veteran (Danny Glover) suddenly having to raise Vietnamese girl.

CHUCK (2010-2012) – Mary Bartowski – appeared in 12 episodes of the TV series CHUCK.

A SUNDAY HORSE (2016) – Margret Walden – Hamilton’s most recent screen credit, a drama about a horse and its young female rider.

Starting from about the early 2000s, the lead roles became fewer for Linda Hamilton, and she appeared more often in supporting roles. And the lead roles she did take were often in films that didn’t have the same resonance as the movies from her earlier days.

But she’s still busily acting, and so there are still more Linda Hamilton movies to come. And I for one am happy about that.

I hope you enjoyed this look at the career of Linda Hamilton, the subject of today’s LEADING LADIES column.

Thanks for reading!

—Michael

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

THE HORROR JAR: Music By Jerry Goldsmith, PART 2

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Welcome back to THE HORROR JAR, the column where we look at lists pertaining to movies, particularly horror movies.  Today it’s Part 2 of our look at the career of composer Jerry Goldsmith.

jerry goldsmith - 2

Jerry Goldsmith

In Part 1, we looked at films Goldsmith scored between the years of 1957 and 1983.

On to Part 2!

And again, this is just a partial list of Goldsmith’s 258 movie credits, concentrating mostly on his genre films.  We continue the list now, picking up where we left off, in 1984.

GREMLINS (1984) – No water, no food after midnight, and no bright lights, but plenty of Jerry Goldsmith music in this horror comedy by director Joe Dante.

SUPERGIRL (1984) – Before the TV show, there was this movie, starring the lovely Helen Slater as Supergirl.  Slater actually appears on the new SUPERGIRL television series as Eliza Danvers.  Pretty bad movie, in spite of the presence of Faye Dunaway, Peter O’Toole, and Mia Farrow.

RAMBO:  FIRST BLOOD PART II (1985)- Following up on his work on Sylvester Stallone’s FIRST BLOOD (1982), Goldsmith provides the music again in this bigger and badder sequel.

LEGEND (Director’s Cut) (1985) – Ridley Scott’s fantasy fairy tale about a youth (Tom Cruise) battling a demon (Tim Curry).  Goldsmith’s music appears only in the re-issued director’s cut.  Tangerine Dream provided the electronic music in the theatrical release.

INNERSPACE (1987) – Dennis Quaid gets miniaturized and injected into the body of Martin Short in this action comedy by director Joe Dante, a variation of FANTASTIC VOYAGE (1966).

RAMBO III (1988) – completes the original  Sylvester Stallone Rambo trilogy.

LEVIATHAN (1989) –  Underwater monster adventure starring Peter Weller and Richard Crenna.

WARLOCK (1989) – Horror fantasy starring Julian Sands as a— warlock.

STAR TREK V:  THE FINAL FRONTIER (1989) – Goldsmith’s second trip to the STAR TREK universe, after scoring the first movie in the series, STAR TREK – THE MOTION PICTURE (1979).  This is the one directed by William Shatner and it’s usually on fan’s “worst of” lists when talking about the movie series, but other than some silliness early on, this one isn’t half bad and actually gets better as it goes along.  1989 was another busy year for Goldsmith as he wrote the music scores for four movies this year.

TOTAL RECALL (1990) – Provides the music for this Arnold Schwarnegger vehicle about a man with a virtual identity crisis on Mars.  Directed by Paul Verhoeven.  Based on a short story by Philip K. Dick.

THE VANISHING (1993)- Abduction thriller starring Kiefer Sutherland and Jeff Bridges.  Not as good as the original Dutch/French version of THE VANISHING (1988), the film on which this was based.

THE SHADOW (1994)-  Alec Baldwin is The Shadow.  Meh.

THE RIVER WILD (1994) – Thriller with Meryl Streep protecting her famly from a pair of baddies on a raging river.  Kinda exciting back in the day.

THE GHOST AND THE DARKNESS (1996) – Adventure tale starring Michael Douglas and Val Kilmer about the hunt for two maneating lions.

STAR TREK:  FIRST CONTACT (1996)- Second and best of the STAR TREK NEXT GENERATION movies has Captain Picard (Patrick Stewart) and the rest of his Enterprise crew taking on their arch enemies, The Borg.

star-trek-first-contact-movie-poster

L.A. CONFIDENTIAL (1997) – Classic thriller about police corruption in 1950s Los Angeles.  Starring Kevin Spacey, Russell Crowe, Guy Pearce, and Kim Basinger.

STAR TREK:  INSURRECTION (1998) – Third Next Generation STAR TREK film and by far the quietest of the series.  Picard and company discover a Federation plot against a peaceful planetary people, and that’s not okay with them!  Like watching a mediocre episode of the series. No sense of cinematic urgency at all.

THE MUMMY (1999)- Big budget re-imagining of Universal’s THE MUMMY by writer/director Stephen Sommers.  Starring Brendan Fraser, this one plays like an Indiana Jones flick rather than a horror movie.  Fun, but as a horror film, it’s ultimately disappointing.

the-mummy-movie-poster

THE HAUNTING (1999)- Dreadful remake of the 1963 film THE HAUNTING, itself based on the Shirley Jackson novel The Haunting of Hill House.  With Liam Neeson, Catherine Zeta-Jones, Owen Wilson, and Bruce Dern.  Pretty awful.

HOLLOW MAN (2000)- Speaking of pretty awful, this re-imagining of THE INVISIBLE MAN starring Kevin Bacon and Elisabeth Shue is as awful as a horror movie can get.  Directed by Paul Verhoeven.

STAR TREK:  NEMESIS (2002) – Final Next Generation STAR TREK film and one of its best, although that’s not saying much since the STAR TREK: THE NEXT GENERATION movies were never as good as the STAR TREK:  THE NEXT GENERATION TV show.  This one features Tom Hardy and Ron Perlman in the cast.

LOONEY TUNES:  BACK IN ACTION (2003) – Goldsmith’s final feature film music score, this goofy movie features Bugs Bunny, Daffy Duck, and friends intermingling with live action actors, including Brendan Fraser, Jenna Elfman, Steve Martin, and Timothy Dalton.

The movies listed here and in Part 1 of this blog post are only a partial listing and do not include all of Goldsmith’s remarkable 258 music score credits.  In addition to these movies, Jerry Goldsmith also wrote the music for many TV shows including THE TWILIGHT ZONE (1959-61), THRILLER (1960-62), THE MAN FROM U.N.C.L.E. (1964-68), POLICE STORY (1973-79), THE WALTONS (1972-81), STAR TREK:  THE NEXT GENERATION (1987-94), and STAR TREK:  VOYAGER (1995-2001), to name just a few.

His was a long and varied career, and if you watch lots of movies, you can’t help but be familiar with his music, as his career spanned five decades.

Jerry Goldsmith passed away on July 21, 2004 at the age of 75 after a battle with cancer.

Jerry Goldsmith, February 10, 1929- July 21, 2004.

Thanks for reading everybody!

—Michael

 

 

 

 

 

 

 

 

 

 

 

 

 

HORROR MOVIES: Best and Worst of 2015

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Here’s the list of horror movies I saw in 2015, from first to worst:

It Follows poster

IT FOLLOWS – *** – by far, the best horror film of the year.  If you see one horror movie this year, make it this one.  It plays like a John Carpenter film from the 1970s.  Probably my favorite thing about this movie by writer/director David Robert Mitchell is its plot which is unlike most other horror films.  Not gory at all, but suspenseful and captivating throughout.  Very stylish.

THE VISIT- *** – Who knew this M. Night Shyamalan movie about two children visiting their increasingly odd grandparents would be so good?  After a string of misfires, Shyamalan pushes all the right buttons with this one, capturing the perfect blend of horror and humor.

krampus-2015-movie-poster

KRAMPUS – *** – another flick I expected not to like that turned into one of the better horror movies of the year.  This Christmas horror movie in spite of its potentially ridiculous storyline gets the horror right and makes the most of its creepy images and suspenseful scenes.  It’s a holiday comedy with a serious horrific attitude.  Check this one out.

JURASSIC WORLD – ***- technically not really a horror film, but it does contain some angry hungry dinosaurs.  This one is mostly light in tone, but I found it entertaining throughout, and I really enjoyed Chris Pratt’s performance.

THE WOMAN IN BLACK 2:  THE ANGEL OF DEATH- ** 1/2 – I liked this sequel to the well-made THE WOMAN IN BLACK (2012).  I enjoyed the atmosphere and the cinematography more than the story.  A Hammer Film.

UNFRIENDED – ** 1/2 – I thought I would hate this one, but the gimmick of having all the action appear on a computer screen actually works, mostly because audiences today all use computers/laptops/smartphones  and so watching this type of screen seemed perfectly natural, even if its story of high school friends tormented online isn’t very compelling.  Not half bad.

THE GREEN INFERNO – ** 1/2 – not my cup of tea, but this Eli Roth tale of cannibalism actually features likable characters and a decent story.  NOT FOR THE SQUEAMISH.

VICTOR FRANKENSTEIN – ** – ultimately disappointing tale of Frankenstein, told from the perspective of Igor.  So why not call this one Igor?  Best part is Daniel Radcliffe’s performance as Igor.  Tries to be upbeat and action-oriented, a la the Robert Downey Jr. Sherlock Holmes movies, but doesn’t really work.

MAGGIE – ** – Arnold Schwarzenegger in a zombie movie?  Is it full of brutal kills and big gun violence?  Not at all.  This is actually a low-key drama about Arnold caring for his teen daughter who’s slowly turning into a zombie.  Slow moving and quiet.  Worth it if you’re in the right frame of mind.

maggie poster

CRIMSON PEAK- ** – good looking horror movie is undone by a dumb story that ultimately makes little sense.  The main character in this ghost story is supposed to be a strong smart heroine, and yet she’s the only person in the movie who can’t see the danger around her.

INSIDIOUS CHAPTER 3- ** – didn’t like this third chapter in the INSIDOUS series at all.  I’m just not a big fan of prequels, especially when they’re as poorly written as this one.

THE LAZARUS EFFECT – * 1/2 -weak horror movie about a  “Frankenstein”- like experiment to reanimate the dead.  If only this movie could be reanimated.

SINISTER 2 – * 1/2 – utterly horrible sequel.    Story makes little sense nor is it scary.

THE GALLOWS – * – my pick for the Worst Horror Movie of the Year.  How dumb is this one?  Well, the main plot point is that in honor of the 20th anniversary of a high school play gone wrong— a student was accidentally hanged to death on stage- the school decides to put on the same play again.  Duh!  Needless to say, someone isn’t very happy about this decision, and once again more students turn up dead.  Unfortunately none of them were responsible for the script.

There you have it.  My list of horror movies from 2015.

Thanks for reading!

—Michael

 

 

YOUR MOVIE LISTS: MOVIES SCORED BY JAMES HORNER

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Oscar-winning composer James Horner

Oscar-winning composer James Horner

YOUR MOVIE LISTS:  Movies Scored by James Horner

By

Michael Arruda

Oscar-winning composer James Horner has died.   Horner passed away tragically on June 22, 2015, the victim of a small plane crash.  He was 61.

Horner composed music for countless movies over the years, many of them in the horror and science fiction genre.  According to IMDB, Horner composed scores for 156 movies beginning in 1978.  He won two Oscars, both for TITANIC(1997), as he won for Best Original Score and Best Original Song, “My Heart Will Go On.”

We remember Horner today with a look at the movies he scored.  It’s a partial list, with the genre films listed in bold.

THE WATCHER (1978) – James Horner’s first movie score.

THE LADY IN RED (1979) – Gangster film about John Dillinger starring Robert Conrad as Dillinger and Pamela Sue Martin as the Lady in Red.  Horner actually scored this film before THE WATCHER, but THE WATCHER was released first.

HUMANOIDS FROM THE DEEP (1980) – classic low-budget 1980s horror movie starring Doug McClure in a tale about mutated sea monsters who kill men and rape women.  This is the first movie scored by Horner that I ever saw.

BATTLE BEYOND THE STARS (1980) – STAR WARS wannabe/clone/ripoff starring Richard Thomas, Robert Vaughn, George Peppard, John Saxon, and Sybil Danning.

THE HAND (1981) – Horror movie about a severed hand that comes back to life and goes on a murder spree.  Starring Michael Caine.  With a screenplay by Oliver Stone!

WOLFEN (1981) – Stylish horror movie starring Albert Finney about Native American wolf spirits.  Based on the Whitley Strieber novel.

DEADLY BLESSING (1981) – Wes Craven horror film starring Sharon Stone.

STAR TREK II:  THE WRATH OF KHAN (1982) – Probably my favorite James Horner score.  It’s certainly the film where I first noticed his music.  The music he wrote for the space battle scenes between Kirk and Khan are particularly effective, in this superior STAR TREK film, the second and arguably the best in the series.star_trek_ii_the_wrath_of_khan poster

48 HRS (1982) –Action/comedy by writer/director Walter Hill was Eddie Murphy’s feature film debut.  Co-starring Nick Nolte.

SOMETHING WICKED THIS WAY COMES (1983) – Very stylish horror/fantasy based on the Ray Bradbury novel.  Bradbury also wrote the screenplay.  Starring Jason Robards and Jonathan Pryce.  Not as effective or chilling as it should have been, perhaps because it was a Walt Disney release.

KRULL (1983) – science fiction fantasy by director Peter Yates.

BRAINSTORM (1983) – Science fiction thriller directed by Douglas Trumbull and starring Christopher Walken and Natalie Wood.  Wood’s final movie.

STAR TREK III:  THE SEARCH FOR SPOCK (1984) – The third film in the STAR TREK movie series, directed by Leonard Nimoy, about the search for the reborn Spock after his death at the end of STAR TREK II:  THE WRATH OF KHAN.  Not bad, but not nearly as good as it predecessor.

COMMANDO (1985) – Arnold Schwarzenegger actioner is a guilty pleasure.  Contains some of Arnold’s best movie lines.

ALIENS (1986) – Probably my second favorite James Horner music score in this ambitious, entertaining sequel by writer/director James Cameron.  With Sigourney Weaver, Michael Biehn, Lance Henriksen, a conniving Paul Reiser, a whiny Bill Paxton, and an army of vicious aliens.

THE NAME OF THE ROSE (1986) – Well-made period piece thriller with Sean Connery as William of Baskerville, a monk investigating a series of murders.  Featuring a young Christian Slater.

RED HEAT (1988) –Arnold Schwarzenegger teams with James Belushi in this buddy action flick by director Walter Hill.

FIELD OF DREAMS (1989) – If you build it, they will come.  Iconic baseball movie starring Kevin Costner, Amy Madigan, Ray Liotta, and James Earl Jones.

GLORY (1989) – Civil war drama starring Matthew Broderick, Denzel Washington, and Morgan Freeman.

ANOTHER 48 HRS (1990) – Forgettable sequel with Eddie Murphy and Nick Nolte, once more directed by Walter Hill.

THE ROCKETEER (1991) – Amiable adventure yarn set during World War II about a secret jetpack, the young man who uses it, and the Nazis spy who wants it.  Timothy Dalton makes a nice baddie.

PATRIOT GAMES (1992) – Harrison Ford takes over as CIA analyst Jack Ryan in this Tom Clancy tale.

CLEAR AND PRESENT DANGER (1994) – Ford returns as Tom Clancy’s Jack Ryan.

BRAVEHEART (1995) – Mel Gibson steals the show as Scottish rebel William Wallace.  Gibson also directed.

APOLLO 13 (1995) – Superior movie by director Ron Howard about the ill-fated Apollo 13 moon mission, based on the book by Jim Lovell.  Phenomenal cast includes Tom Hanks, Bill Paxton, Kevin Bacon, Gary Sinise, and Ed Harris.  Another memorable score by James Horner, one of my favorites.

RANSOM (1996) – Action thriller starring Mel Gibson about a father who takes the law into his own hands after his son was kidnapped.  The sort of movie Liam Neeson would have starred in if this had been made ten years later.

THE DEVIL’S OWN (1997) – muddled thriller starring Harrison Ford and Brad Pitt.  Pitt’s not who he seems, and Ford finds out.

TITANIC (1997) –  The biggie, the iconic James Cameron movie starring Leonardo DiCaprio and Kate Winslet.  Horner won two Oscars for this movie, for original score and for best song.

DEEP IMPACT (1998) – science fiction disaster film about a meteor about to wipe out Earth stars Robert Duvall, Tea Leoni, Elijah Wood, and Morgan Freeman as the President of the United States.

THE MASK OF ZORRO (1998) –Antonio Banderas and Anthony Hopkins in this so-so tale of Zorro.

MIGHTY JOE YOUNG (1998) – Disney remake of the classic giant ape movie features topnotch special effects by make-up wizard Rick Baker.  Starring Charlize Theron and Bill Paxton.

THE PERFECT STORM (2000) – Nonfiction sea tale starring George Clooney and Mark Wahlberg.

A BEAUTIFUL MIND (2001) – Russell Crowe steals the show as brilliant mathematician John Nash, directed by Ron Howard.  Co-starring Jennifer Connelly and Ed Harris

THE FORGOTTEN (2004) –Decent horror movie starring Julianne Moore about false memories and sinister enemies.

FLIGHTPLAN (2005) – thriller with Jodie Foster dealing with bad guys on a plane.

THE LEGEND OF ZORRO (2005) – Antonio Banderas returns as Zorro.

AVATAR (2009) – James Cameron classic that put 3D movies back on the map.  Superior film with yet another memorable James Horner score.  With Sam Worthington, Zoe Saldana, and Sigourney Weaver.

THE AMAZING SPIDER-MAN (2012) – Inferior Spider-Man reboot, made way too soon after the Tobey Maguire series which only ended five years earlier.   Andrew Garfield as Spidey— meh.

James Horner wrote the music for so many of the movies I’ve watched over my lifetime.  Often writing scores for multiple films per year, Horner provided music for more movies than are listed here, as again, this is just a partial list.

Sadly, his life was cut short while he was still very active in his career.  His musical talents will be greatly missed.

James Horner.  August 14, 1953 – June 22, 2015.  Age – 61.

Thanks for reading.

—Michael