Entries in Movie (2)

Tuesday
Aug282012

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. 

 

Wednesday
Jun222011

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.