Showing posts with label period piece. Show all posts
Showing posts with label period piece. Show all posts

December 8, 2011

L.A. Confidential (1997)

IF SOMEONE TOLD YOU they were making a movie about police corruption in 1950s Los Angeles, starring two unknown Australian actors, and directed by the guy who did The Hand That Rocks The Cradle, would you believe it would win two Oscars and turn out to be one of the best films ever made?

Plot:
Against the background of 1950s Los Angeles, L.A. Confidential intertwines stories of police corruption, the battle for control of the L.A. underworld, a mass shooting in a late-night café, and a pimp who has his prostitutes surgically altered to look like famous Hollywood starlets.

Critique:

It shouldn’t have worked. A period piece, two virtually unknown foreigners as the leads, and half a dozen plotlines running concurrently over a span of nearly two and a half hours. Yet L.A. Confidential is one of those rare instances when all the elements come together to create, without hyperbole, a modern masterpiece.

From the performances of the actors (perfectly cast by the legendary Mali Finn), to director Curtis Hanson’s vision of the L.A. of yesteryear (he’s a lifelong Angelino), to the Oscar-winning script by Hanson and Brian Helgeland (brilliantly pared down and adapted from James Ellroy’s mammoth book), to the infectious soundtrack (mixing standards and Jerry Goldsmith’s score), to Ruth Myers’ costume design, all the pieces of L.A. Confidential connect masterfully into one perfect, ambitious puzzle.

In terms of the performances: Yes, Kim Basinger’s Oscar-winning performance as high-end call girl Lynn Bracken is good and worthy of recognition, but it’s hardly the best performance. It doesn’t even come in second or third. She’s trumped by a top-tier ensemble cast that includes:
  • Russell Crowe, whose brutish Bud White has a deep-rooted issue with criminals who abuse women
  • Guy Pearce as clean-cut Edmund Exley, who won’t step outside the law to deliver justice, but learns how to work the system
  • James Cromwell as police captain Dudley Smith, who questions Exley’s abilities to go above the law to stop criminals and get confessions
  • Kevin Spacey as slick detective Jack Vincennes, who thoroughly enjoys his gig as advisor on Badge of Honor, the hottest cop show on TV
  • Danny DeVito as Sid Hudgens, publisher of the scandal magazine Hush-Hush, who’s always looking for an angle or scoop
  • David Straithairn as Pierce M. Patchett, a respected businessman and philanthropist who also employs prostitutes who are “cut” to look like movie stars
With L.A. Confidential, Hanson perfectly captures the dichotomy of Los Angeles that exists to this day: The idea of image versus reality. The glitter and fame of Hollywood that masks the city’s seedy, violent underbelly. And a supposedly honorable police force that’s mired in corruption, racism, and brutality. (The fact that Hanson opens and closes the film with Johnny Mercer’s “Ac-cent-tchu-ate the Positive” is no accident.) It’s a world where polar opposites join forces to help each other’s cases and uncover awful truths – and where one cop sworn to serve and protect turns out to be a callous, cold-hearted criminal behind the very crimes and corruption our anti-heroes are investigating. It all culminates in a final shootout that’s a master class in choreography and editing.

L.A. Confidential is one of those films that requires a second viewing to catch everything you missed, but it’s hardly a chore to do so. Character nuances become more noticeable, the narration and multiple storylines flow together better, and terrific instances of foreshadowing are much more appreciated.

Kevin Spacey has said that if L.A. Confidential hadn’t been released the same year as Titanic, it would have won the Oscar for Best Picture. Off the record, and on the QT: He’s absolutely right.

Rating:
Is it suitable for your kids?
Despite being set in a time when movies were largely free of inappropriate material, L.A. Confidential has plenty of content not meant for all audiences. There are scenes of brief nudity, discussions of drug use, graphically violent footage of mob hits, and more than a dozen people dying by bloody shootings. There’s also frequent adult language, plus occasional glances at vintage nudie and S&M magazines. High school kids and older is probably the benchmark to use when deciding if L.A. Confidential is suitable for your kids.

Will your FilmMother want to watch it?
Factoring in its subject matter, nearly all-male cast, and police procedural setting, I’d gamble that L.A. Confidential is more for dads. In fact, it should be required viewing for all dads who love movies.


L.A. Confidential
* Director: Curtis Hanson
* Screenwriters: Curtis Hanson and Brian Helgeland
* Stars: Russell Crowe, Guy Pearce, Kevin Spacey, Kim Basinger, Danny DeVito, James Cromwell
* MPAA Rating: R


Rent L.A. Confidential from Netflix >>

December 5, 2009

The Sword and the Sorcerer (1982)

WITH THIS REVIEW COMES a new segment at FilmFather: Trashterpiece Theatre.

I’ve been having trouble trying to define, in one sentence, what qualifies a film for this label. I felt like just saying what that judge said years ago when asked to define obscenity: “I know it when I see it.”

I’ve ultimately narrowed it down to this: Trashterpiece Theatre reflects films that go beyond guilty pleasures. For example, they could be:
* Highly watchable exploitation movies
* So-bad-they’re-good B-movies
* Mainstream movies that are delicious junk food for your brain

In short: They’re great movies to watch, but may not be great movies per se.

Our inaugural film for Trashterpiece Theatre: 1982’s The Sword and the Sorcerer.

Plot:

The city of Ehdan is ruled by merciless King Cromwell (legendary character actor Richard Lynch), but there are plans for a rebellion led by Lord Mikah (Simon MacCorkindale), Ehdan’s rightful heir. However, Cromwell thwarts the rebellion, captures Mikah, and throws him in his dungeon.

To rescue Mikah and revive the rebellion, his sister Alana (Kathleen Beller) hires Talon (Lee Horsley) and his band of mercenaries. Armed with a kick-ass, three-blade sword (whose outer blades shoot from the handle), Talon accepts the mission with one demand as payment: Anna must sleep with him after he rescues Mikah.

Talon also has a personal interest in the mission: Many years ago, Cromwell killed Talon’s father, King Richard (Christopher Cary) and took over Richard’s kingdom.

Critique:

Director Albert Pyun’s track record of bad films has few equals (see a partial list of his films in this article), yet he delivers The Sword and the Sorcerer with all the intentions of a big-budget spectacular – from the opening sequence setting up Talon and Cromwell’s grudge to the fantastic free-for-all finale at Cromwell’s castle.

Horsley plays Talon with a swagger that falls somewhere between John Wayne and Errol Flynn. He’s unrepentant in his words and actions, yet you root for him as the film’s hero.

The dialogue is delightfully cheesy, filled with campy humor and smirk-worthy one-liners – including many innuendos about men’s swords (their size, raising them, etc.)

To the film’s credit, David Whitaker’s triumphant score adds some integrity to the melodramatics, and there are many elaborate sets that occasionally give the film a feel of epic scope.

Watch for supporting roles by Murphy Brown’s Joe Regalbuto as one of Talon’s mercenaries, and Night Court’s Richard Moll as a brutal sorcerer.

After the end credits, the film announces the adventure will continue with Tales of an Ancient Empire, a sequel that’s “coming soon.” Well, I guess 28 years still counts as “soon” because Pyun is currently (finally!) filming the sequel, starring Kevin Sorbo, Christopher Lambert, and Horsley. (Follow the film’s production at its official site.)

The Sword and the Sorcerer is a delicious slice of ‘80s Velveeta, complete with everything your inner 14-year-old boy could want: swords, sorcery, boobs, gore, action, and adventure. It’s currently out of print, so your best bet is one of the links at the bottom or pray for a DVD/Blu-Ray re-release when Tales of an Ancient Empire comes out. Either way, this Trashterpiece is worth seeking out.

Rating:

Will your kids want to watch it?
Given my earlier reference to your inner 14-year-old, it’s probably safe to say that younger boys will want to watch The Sword and Sorcerer if they see the poster or any clips online. But despite the cheese factor of the film, it has a lot of unsavory content that younger viewers shouldn’t see: an attempted rape, soldiers burned alive, stabbings, impalings, torture, crucifixion, random nudity, and both hearts and tongues torn out. It’s bloody good fun, but use discretion around kids and young tweens.

Will your FilmMother want to watch it?
This really feels like one for you to enjoy with other male brethren, but in a group environment I bet she could get caught up in the fun.

You think that’s bad? You should see what they did the M, C, and A guys.

The Sword and the Sorcerer
* Director: Albert Pyun
* Screenwriters: Tom Karnowski, John Stuckmeyer, Albert Pyun
* Stars: Lee Horsley, Kathleen Beller, Simon MacCorkindale, Richard Lynch, Richard Moll
* MPAA Rating: R


Buy The Sword and The Sorcerer (DVD) at Half.com >>
Buy The Sword and The Sorcerer (VHS) at Half.com >>

October 4, 2009

Blood Rain (2006)

HERE’S A FILM with an interesting blend: a Korean period piece with a serial killer on the loose.

Plot:
In 1808, at a paper mill on the remote island of Dong-hwa, a mysterious fire destroys a docked cargo ship. A team of investigators led by Lee Won-Kyu (Seung-won Cha) arrives to solve the case. The next day, a mill worker is found brutally slain – escalating Lee’s investigation from arson to murder. But the gruesome killings don’t stop there…

Critique:
• Director Dae-seung Kim delivers Blood Rain with all the scope of a big-budget epic and the effectiveness of a modern-day Hollywood crime thriller.
Seung-won Cha is powerful as Kyu, the methodical, emotionless investigator. Much like a modern-day movie cop, he does his job by the book – but when pushed to his limits, he’s not above beating information out of a suspect.
• The sweeping score by Yeong-wook Jo and Ji-soo Lee is worthy of any major epic the Western world has produced.
A couple nits: The last act takes a bit longer than expected, and flashbacks are woven too seamlessly into the present storyline, making it disjarring at times. Also, the ending loses points for throwing a supernatural element into what had been a story largely grounded in reality.

Blood Rain opened in its native Korea in 2006, but Pathfinder Pictures just released it on DVD in the US last month. If you enjoy crime thrillers and can tolerate a large dose of bloodletting, it’s worth seeking out. (View the trailer here.)

Korean, with subtitles.

Rating:

Will your children want to watch it?
The fact that Blood Rain is a period piece, in a foreign language, with subtitles, should be enough to lose your kids’ interest – which is fine, because its graphic violence should not be viewed by children. People are impaled, boiled alive, suffocated, have their heads crushed, and are dismembered. Oh, and a few chickens have their heads cut off (ba-GOK!).

Will your FilmMother want to watch it?
The violence may be off-putting to her, and if she’s not a fan of subtitles, there’s two strikes right there. I’m feeling this is one to watch on your own.

Worst. Bachelor. Party. Ever.

Blood Rain
• Director: Dae-seung Kim
• Screenwriters: Seong-jae Kim, Won-jae Lee
• Stars: Cha Seung-won, Park Yong-woo, Ji Seong, Choi Ji-na, Oh Hyeon-kyeong
• MPAA Rating: N/A (graphic violence, gore)


Buy Blood Rain for less at Half.com >>
Rent Blood Rain from Netflix >>

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