Collateral (2004)

Directed by:  Michael Mann

Screenplay by:  Stuart Beattie

Starring:  Tom Cruise, Jamie Fox, Jada Pinkett Smith 

Plot:  After meeting the woman of his dreams, a Los Angeles cabbie in denial catches up with a killer brimming with STYLE!…It’s really kind of a bummer for the Cabbie.  Either way, both men will never be the same.

Review:  Alright alright, I know this is way ridiculous.  It has been a whole YEAR since I’ve written a review, and after all this time, I resort to reviewing ANOTHER Michael Mann movie.  My last review was The Last of the Mohicans, where I happened to unabashedly profess my love for the director and his films.  So where do I go now?  The MANN!

I coincidentally happened to watch Collateral recently, and as I meant to get back into the spirit of sharing my feelings on film with the masses (currently mass…or lack thereof), this 2004 beauty seemed like the perfect place to hang.  Do my ecstatic feelings shown previously appear in this endeavor?  For the most part, yest.

Collateral is a film I find myself pushing endlessly towards the masses (again…maybe just Mom here) regardless of my recent knowledge of it.  In all actuality, I truly believe I’d only seen this film twice, and the second time possibly more than 5 years ago.  Upon this revisit, there were moment of true bliss, and others that left me slightly perplexed; these were few and far between however, as Collateral may very well be Mann’s most taut film to date.

One major difference compared to all of his previous work is the script: it wasn’t his (although he reportedly revised it substantially).  Stuart Beattie is credited with this little baby (early drafts by Executive Producer Frank Darabont of Shawshank and The Walking Dead Fame) making quite a tightknit piece of work.  Not only does the story take place over the course of one night, but much of it is in a cab with major philosophical battle between the two leads.  The story is simple enough, with Vincent the hit man (played cool and efficiently by Tom Cruise) essentially taking Max the cabbie (Jamie Foxx in a star making turn) hostage, as he takes out his 5 targets he has been contracted to kill.  While you may think one has the upper hand over the other, events of the night and fairly calm debates show a continually alternating picture of who each of these two men really are, played effectively up front and in the subtext.

Mann’s first foray into digital cinematography (and justified by the accent of the LA night) truly is a visual masterwork.  Scenes showcasing life in and out of the taxi cab, in clubs, skyrises, and trains are truly stunning and beautiful.  One issue I could not separate myself from was that while it looked like Mann, it did not completely feel like Mann, most likely based on the fact that the story did not originate from him.  This should not be viewed as a fault necessarily; directors shouldn’t have to keep exactly consistent from movie to movie (why should they).  It just took me slightly out of the story, and I can’t help but feel upset.  Still….that’s my own damn fault, isn’t it?!  Not the fault of the MANN!  Even if it was something completely new, he actually did go with a script that in the end seems almost to be tailor made for his visual sensibilities. 

Maybe in my old age, I’m becoming a little short with my favorite filmmaker.  Regardless, Collateral truly is a slick spectacle that remains taut and tight through to the end.  Music here is fairly stellar (maybe a little too bombastic at the end) and the setting of LA is fleshed out well enough to truly be a supporting character.  And speaking of supporting, the cast adds depth and background that effectively surrounds our two leads without being overbearing.  Some of the cast you will may not even recognize at first (Mark Ruffalo never looked so Narc) while others might be making some of their first big US appearances (never realized Javier Bardem was here).

Even though at first the film may have differed from what I remember, I cannot deny the cool, the real, the vibe that makes me truly feel I’m in LA like I’ve never seen it before.  He may have not written the piece, but make no mistake, this is Michael Mann’s movie, and it ranks up there with his best. 

 

The Last of the Mohicans (1992)

Directed by:  Michael Mann

Screenplay by:  Michael Mann & Christopher Crowe

Based on the novel by James Fenimore Cooper

Starring:  Daniel Day Lewis, Madeleine Stowe, Wes Studi

Plot:  Set in the year 1757, the last three members of a Native American tribe becomes caught in the middle of the French and Indian War as they attempt to protect the daughters of a British Colonel. 

Review:  It’s hard for me not to be biased in this review.  I’m generally in love with any film that is directed by Michael Mann.  Not only is he the creator of my all time favorite film Heat (aka “The Greatest Film of All Time”) but he also never ceases to keep his works grounded in atmospheric reality, regardless of story, genre, or period.  Is it any different with this film?  Nay.

This film completely stands out as a modern classic, joining elements of rousing adventure and romance with grounded story telling and filmmaking techniques, making it, in this reviewer’s eyes, one of a kind. 

The sweeping cinematography, beautiful locations, and grandiose action assist the viewer in completely being entranced and accepting the film as reality.  Moving at a steady pace, it never really slows, keeping conflict and the stakes in constant focus.  The set pieces feel realistic and legitimate, the numerous supporting characters add to the epic nature, and the music (scored partly by Trevor Jones and partly by Randy Edelman … truly phenomenal.  In fact, this movie could succeed fairly well with a different score solely based on previous aspects listed, but it wouldn’t nearly have the efficacy and grandeur. 

Taking place in 1757, we see an America still in development, with a wilderness that no longer exists, tragically along with various Native tribes (including the titular Mohicans).  Not only is this setting unique, but the main characters including Hawkeye (Daniel Day Lewis), and, by adoption, his father Chingachgook (Russell Means) and brother Uncas (Eric Schweig), create a fresh and interesting dynamic; the latter two are blood relatives, and Hawkeye is not, nor is he native. 

This adds to the interesting conflicts and duplicitous nature within the epic; how all these various groups can and cannot get along.  We have settlers fighting to live their own lives, English fighting French, and native Americans fighting either for revenge in the case of the antagonist Magua, or more generally just to survive.  Evoking what ostensibly were major issues of those times, we see politics and real issues come into play in the subtext, without being overstated or commandeering the story, making a for a welcoming and complex experience.  We also can find some way, if at all possible, to understand the plight of the Native Americans with the unstoppable invasion by immigrants.  They are hard struck to find a choice or answer in regards to living the way they had for centuries.  As a Huron war chief puts effectively in the third act, “What are the Huron to do?”

"Dad's always constapated and sooo sloow... CMON!"

Other aspects of the film excel as well; acting seems to be obviously fantastic, with Daniel Day Lewis at the helm.  One may doubt his talent in an action piece, based on previous works (Room With A View, My Left Foot) but after viewing his total submersion into the Hawkeye character, there is no doubt.  Just as well, the action set pieces are clearly planned and executed, with a vivid geographical sense at play, so we know where everything occurs. 

Based on a book by James Fenimore Cooper, the film is adept and able in keeping with the rousing and adventurous nature while including complexity (the book is rather simplistic in its plot and description of Native peoples).  There was also a previous film made in the 1930s, of which I have not yet seen.  I imagine it to be similar in some regard to the subject of this review.  However, I cannot imagine either to be as exciting, entertaining, dramatic, rousing, romantic, and epic as Michael Mann’s version; truly an amazing vision of adventure you can take seriously.  

Wasabi (2002)

Directed by: Gérard Krawczyk

Writtien by:  Luc Besson

Stars: Jean Reno, Ryôko Hirosue, and Michel Muller               

Plot: Dispatching crimanls with succinct success but also collateral damage ala Riggs/Murtaugh, policeman Hubert Fiorentini is pushed to vacation while still pining over his lost love for the last 19 years.  After receiving a phone call that she has passed away, he returns to Japan where he once lived to obtain her remaining effects… including the daughter he never knew.

Review: Borrowing this from a friend at work, I can say I was not exactly sure what I was in for.  Based on the artwork, it had to be fun, entertaining, and have a certain mix of euro-action and comedy that’s come to be known in varying degrees throughout Luc Besson’s work (The Professional, Taken).  Upon completion, I can say it was mostly expected and enjoyable, but not totally without surprise.

Fairly consistent action and fast paced camera work are almost required with this pedigree of film.  You generally have a cop, hitman, or anyone who can easily eliminate a plethora of bad guys, and then throw in a personal “hook” that challenges them (i.e. plethora ad infinitum) to the point of every action junkie’s pleasure.  Here we have the same ingredients:  bad ass policeman who along with finding out he has a daughter, discovers her mother stumbled onto something sinister, resulting in her demise.  Enter guns and explosions…well at least the former.

For being marketed as an action film, there is oddly not much.  That is not to say its isn’t vibrant like one, also including plenty of entertaining moments featuring our protagonist (Jean Reno) taking out baddies creatively yet efficiently.  However, the newfound relationship between parent and child (of which the the latter is oblivious of for some time) appears prominent, and refreshingly so.  Fiorentini discovers his daughter actually hates policemen, as well as the idea of her father, enticing him to remain silent of his role while a bond between slowly but surely develops.  With the mystery being fleshed out alongside, we have a fairly effective and believable look into family members meeting for the first time, even with the fairly unbelievable action surrounding it.

"I used to protect Natalie Portman you know... where the hell is MY oscar?"Besides surprising devotion to characters, humor and laughs are fairly constant throughout.  The writing and acting are no doubt thanks to that, with Jean Reno bringing bittersweet comedy to his bad ass cop without a family, while Ryôko Hirosue (playing his daughter) is young and vibrant, ignorant to the fact this man is protecting her (to hilarious effect).  Adding comedic support is Michel Muller playing a bumbling former colleague in Japan, always saying the wrong thing while attempting to back up his friend throughout his ordeal.

Even though one may easily see a formula at work, Wasabi succeeds at throwing out fun oddities; look at the title?  The actual Japanese horseradish only plays a small cameo and joke in the film, but makes sense as the title, with Japan playing the main setting.  Even phonetically it somehow seems right.  Is the film really spicy though?  Medium to medium hot.



The Running Man (1987)

What more do you need?!

Directed By:  Paul Michael Glaser   Written By:  Stephen King (novel), Steven E. de Souza (screenplay)

Cast:  Arnold Schwarzenegger, Maria Cochita Alonso, Yaphet Kotto, Jesse Ventura, Richard Dawson

Plot:  In the near future the citizens of the world enjoy hardcore games shows as provided by the new totalitarian state.  Arnie basically decides to screw it up after becoming a contestant, taking out the competition and throwing up one liners in this numb dumb look at violence and media.

Review:  The Running Man seems to fall right in with Arnold Schwarzenegger's film theme for the 80s; unapologetic, flashy funny cheese with slight Sci-Fi smarts.  Before this was The Terminator, after was Total Recall (both of which are superior).  While it may attempt to give slight forewarning in regards to the future of reality television and possible dangers of desensitization and an overbearing government, its basically sinks down to a story that will best serve the movement and continuation of the action.  That being said, I couldn't help but smile watching it.

Characterization is frail here, with Arnold's character speedily being presented as one man against the world (when is he not?) moving him into position to unwittingly become a pawn in game/reality show with elements we are all use to, aside from the fact that violence and death are mainstays.  His main opponent (besides Planet Earth itself) is a maniacal game show host played by Richard Dawson of Family Feud fame, essentially playing down any seriousness previously implied to the plot.  From here on, it’s a number of video game levels, each with their own boss and environment, with scenes that are slightly repetitive, but fairly enjoyable over all.

As expected, there's no great acting here to mention; however, if Arnold didn't act the way he generally does in everything (or lack thereof) would the movie be as enjoyable?  It is his hackneyed delivery and overly extreme gestures that help to make all of his films worth watching.  Credit must be given to the writer as well; a threat from our protagonist to his arch enemy in the third act was so belabored and excessive, I had to re-watch it three times just to understand what exactly would happen if the threat were carried out (and to continuously laugh).  Visual effects are fun and enjoyable, just like that synth-infused Harold Faltermeyer score; very dated as well, but maybe that’s what adds to the viewing here over 20 years after it first appeared.

You won't find anything unexpected, you will find strange computer game opening titles, your mind will be stimulated slightly by real world relevance and then squashed back down immediately, and you will have to put up with not one, but TWO future governors (both ALSO in Predator).  Nonetheless, The Running Man offers lighthearted entertainment with gloss and smiles that you can't help but enjoy.

Note:  Watch TOTAL RECALL; it may be strange that I bring it up here, but the similarities are palpable, and I can't help but stress it is a much better film.

Sleepers (1996)

Directed By:  Barry Levinson  Written By: Lorenzo Carcaterra (book), Barry Levinson (screenplay)

Studio: Warner Brothers

Cast:  Kevin Bacon, Robert De Niro, Dustin Hoffman, Jason Patric, Brad Pitt

Synopsis:  Boys will be boys, but of course this may have a slightly/completely different context within Hell’s Kitchen, where boys will be boys by stealing hot dog carts and pushing them down on the ostensibly middle upper class because of the extreme malaise of their lives. 

Wow, I’m so judgmental.  Ok it was an accident, and these naïve, harmless, and God fearing children really didn’t mean it, but this was the pivotal event of their lives, changing everything from that moment forward, leading to the second act in the detention center, and a third act regarding the aftermath of their incarceration.  All of this is tied together because Kevin Bacon is a total wanker.

Note:  Kevin Bacon is my 3^rd, 4^th, or 5^th cousin…by marriage through Kyra Sedgwick… and even though I’ve never met him, my life is still awesome because I can beat anybody else in 6 Degrees of Separation from Kevin Bacon! 

Review:  This is one good ol film I’ve been curious about since 10 years after it came out, due to the fact that in my youth, this looked like what I regarded as dummy drivel (AKA not a Bruckheimer production; ironic).  However, I finally saw the talent and fairly decent acclaim backing it, prompting me to eventually check a copy after a long wait.

It may have its dull moments, but overall Sleepers contains a fascinating look at childhood bonds, revenge, and morality.  The look at what our main characters must go through after being put in an institution is fairly effective without showing too much, due in large part to Kevin Bacon’s character being completely ruthless and inhumane.  With this in mind, the controversial path they take as adults is something I can appreciate and accept; payback could not stray far from one’s mind after viewing the torture they endured, even through the fatal accident they caused.

Throughout we have a fairly in depth-look at the main characters and their connections with each other, and along with the decent chemistry between them as children, we can effectively care for them when they become physical/sexual fodder of the guards when incarcerated.  The transition to adults, and to our headlining stars, may be awkward and seem to lose some of the characterization from childhood, but they receive help from some major supporting players in an alcoholic lawyer (Dustin Hoffman) and a priest (Robert De Niro, in a wonderfully understated, interesting, and oddly polite role).  Here the story becomes slightly more immediate and thrilling; in essence, the whole film heads on an upward slope of intensity throughout, but it does start off in slightly dull territory.

Main aspects aside, the film scores fine points for its interesting and moving John Williams score, as well as creating and using the identity, culture, feel, and environment of Hell’s Kitchen, making the boys and those around them evoke authenticity.  There may be overly melodramatic moments, unbelievable connections between past and present, as well as an ending that is not completely satisfying due to revenge being taken too early and stakes not being high enough, but overall I fell for it.  In this case, even if you have qualms, it works.