Escape from Alcatraz

Escape from Alcatraz (1979)
Paramount Pictures
Directed by Don Siegel
Starring Clint Eastwood, Patrick McGoohan, Fred Ward, Larry Hankin

Escape from Alcatraz reteams director Don Siegel with Dirty Harry star Clint Eastwood. The film dramatizes the one possible escape from Alcatraz prison. Eastwood stars as Frank Morris, a convict who just arrives at Alcatraz and is determined to escape. He makes friends with other inmates Charley Butts, Clarence Anglin, and John Anglin, and the four decide to break out. Over time, they create an elaborate plan to escape the unbreakable prison. They use spoons to dig through their cell walls and over the course of a few months, three of the four men have broken through the walls. When it comes down to the night of the escape, Butts has not broken through, and Morris must leave his friend behind. They make it past the guards and into the freezing water using raincoats as a raft. In the morning, the guards or warden (McGoohan) search for the escapees, but cannot find any trace of them. Whether they escaped or perished is a mystery.

Clint Eastwood shines as Morris. As in every film he stars in, he is the man. Clint always plays the tough guy. Whether its Harry Callahan or The Man with No Name, Clint always embodies his characters and makes them legends. Morris is a rugged being, who is not afraid. He just wants to escape Alcatraz to prove he can. Besides Eastwood, the other supporting cast does a fantastic job. Everyone has believable characters that the audience wants to see escape.

Escape from Alcatraz is not an action film of any sort. Yes, there is some action towards the end, but overall, the film is a tight thriller. It’s nice to see that a well-done thriller can be made without an excessive amount of action. The final escape sequence is very thrilling and will keep you on the edge of your seat. The mood that the film portrays is very gloomy. The prison is grey, a color that represents dull and gloomy moods. This color also makes a point to show that the inmates have no chance or leaving the prison.

The film has strong senses of determination. Morris and his crew do not want to be stuck in the prison and are determined to escape. He is also determined not to be pushed around by the old inmates. Escape from Alcatraz is a realistic look at prison life in the 1960s. By having this sense of realism throughout the film, the story becomes more believable and emotionally connected to the audience. Especially in thrillers, it is important to have characters and a story that the audience can get behind. Escape from Alcatraz is an analogy for escapism. The prison represents the real world. Many people feel that they are trapped behind walls sometimes with work, family, paying bills, etc. What makes this story unique and emotional, is that the characters represent normal humans trying to escape the hardships of life. They manage to escape the prison, or the real world, and do what they want. This is a very popular social message because people can relate to it and usually wish for this opportunity.

In the end, the three inmates escape Alcatraz prison, but it is unknown if they escape the freezing waters. The film hints that they escaped, but the warden declares them dead to save his career. Its an open ending, leaving the outcome to your imagination. Personally, I was rooting for Morris to survive, so I believe that he did. Escape from Alcatraz is an escapism film that is very thrilling and features some believable and relatable characters. Because of the realism of the film, Escape from Alcatraz is a wonderful thriller that proves that action is not always needed to make a great thriller.

Rating: B+


July 4, 2010

National Lampoon's Christmas Vacation

National Lampoon’s Christmas Vacation (1989)
Warner Bros. Pictures
Directed by Jeremiah Chechik
Starring Chevy Chase, Beverly D’Angelo, Randy Quaid

Christmas Vacation is the third film in National Lampoon’s Vacation series following Vacation and European Vacation. Chevy Chase reprises his role as Clark Griswold, the family man who always seems to make a mess out of life. This time around, Clark has decided to hold Christmas at his home and invite the entire family to stay for the holidays. What follows it absolutely hysterical, unbelievable, and classic Griswold fun. Clark’s perfect Christmas includes killing the cat, burning the tree, kidnapping, and a surprise visit from Cousin Eddie (Quaid). This is a modern classic Christmas film.

The film plays on the idea that everyone hates the holidays because of family and the strange things that they do. Most people are embarrassed by them. But most families do not have a bizarre family such as the Griswold’s. In the end though, everything works out. Clark finally comes to have his perfect Christmas because he is with his loved ones, and that’s what matters at that time of the year.

Christmas Vacation has such a crazy plot that it works. The story is so basic, but the antics and obstacles that occur during the week are so outrageous, it makes up for the overdone story of family ruining the holidays. Chevy Chase naturally embodies Clark, the lovable goofball he is. Cousin Eddie though, steals the show with his strange attire and random dialogue. He has some of the most bizarre random lines ever.

This film is not a Christmas classic such as A Christmas Carol or It’s a Wonderful Life, but it is a modern classic that is similar to A Christmas Story, one of the best holiday comedies. National Lampoon has made a wonderfully executed comedy that will please the entire family. Christmas Vacation is a must watch during the holidays for a good old Griswold family Christmas.

Rating: B


June 24, 2010

Rio Bravo

Rio Bravo (1959)
Warner Bros. Pictures
Directed by Howard Hawks
Starring John Wayne, Dean Martin, Ricky Nelson

In 1952, the controversial Fred Zinneman film, High Noon, was released. The film was an allegory for the blacklisting occurring in Hollywood at the time. The film was praised and hated for its blatant stab at the communist rumors running throughout Hollywood. In 1959, two supporters of the blacklisting, John Wayne and Howard Hawks, decided to create a more conservative response to High Noon. Their collaborate film, Rio Bravo, tells the story of a local sheriff who stands up to the local outlaws with his trusty deputies. Sheriff John Chance (Wayne) and Deputy Dude (Martin) arrest Joe Burdette for the murder of a bystander in a local saloon. When news of his arrest makes its way to his brother, Nathan Burdette, he leads his posse into town demanding that Chance releases him. Chance refuses and decides to hold Joe in the jail until the Marshall can come and take him into custody. Nathan stages an attempt to rescue his brother and kill Chance and his deputies if he must.

This is a near perfect western film. The acting is wonderful. John Wayne gives one of his best performances to date. Sheriff Chance is an American hero. He is a man of the law; he has strong morals. He is also a very different character from Gary Cooper’s character in High Noon. Dean Martin plays the now-sober Dude. He is a very sympathetic character and is more likeable than Chance. This is because Martin is more laid back than the uptight Wayne in his roles. Martin completely looses himself in the role, which makes him more of a relatable character. Dude has doubts about honor and duty, which most people share.

Because Rio Bravo was created as a response to High Noon, there are many comparisons and differences. Both feature a strong sheriff who must deal with a dire situation that will test their morals and honor. Chance must protect his deputies and the town from a local thug who is trying to break his brother out of the jailhouse. In High Noon, Sheriff Will Kane must protect the town from a retuning thug who has sworn to kill Kane. Both plots are similar, but in High Noon, all of the deputies and townsfolk turn their back on Kane and refuse to help him. Both John Wayne and Howard Hawks hated the plotline that references blacklisting. Just like in Hollywood at the time, everyone turned their back on people being called out. In the final gunfight in High Noon, Kane’s wife is the only one who helps him. This was called out by Wayne and spoofed in Rio Bravo when Chance asks, “What’s next?” His deputy replies, “Maybe the girl with another flower pot.” Wayne believed that High Noon was extremely un-American and that anyone who believes in honor and duty would have stood with Kane against the villains.

Rio Bravo is a classic Western film that created the template for later Westerns: cowboy sheriff is threatened by outlaw, must get help, and has a final gunfight for their lives. Almost every Western since has followed this template. Because of the template and the strong characters, Rio Bravo is a genre classic that defines Westerns such as High Noon and The Searchers. John Wayne gives one of his finest performances with the cool Dean Martin. The cinematography is classic, the scenery and sets are realistic, and the music is wonderful. Howard Hawks has created another masterpiece in his filmography that already includes Scarface and Only Angels Have Wing. Rio Bravo was created as a backlash towards High Noon, and not only did it prove its point, it became a classic of its own and a very influential film.

Rating: A-


July 5, 2010

High Noon

High Noon (1952)
United Artists
Directed by Fred Zinnermann
Starring Gary Cooper, Grace Kelly, Katy Jurado, Ian MacDonald

In the 1950s, the second Red Scare was still in full force. The House of Un-American Activities Committee (HUAC) was blacklisting several Hollywood actors, directors, and writers who were believed to be Communists. This was severely interfering with Hollywood in terms of loans, and who could be trusted for film roles, without hurting your own career. Many people were against the blacklisting, which others such as John Wayne, were huge supporters of anything “un-American.” Director Fred Zinnermann decided to create a controversial film that served as an allegory to this ridiculous blacklisting. The film was set in the Old West in a time of masculinity, duty, and honor. The film was called High Noon and caused some major controversy in Hollywood. Gary Cooper stars as Marshal Will Kane in the small New Mexico town of Hadleyville. He has just married his wife, Amy (Kelly), and is about to retire and go on his honeymoon. He receives a telegram that Frank Miller has just been pardoned and is heading back to Hadleyville to kill Kane. Everyone tells Kane and Amy to leave before he arrives on the noon train, but Kane cannot run from this threat. He decides to stay and fight back against Miller and his posse. But unfortunately, no one will help stand up to the outlaws. His deputy quits, his friends hide, and the other townsfolk do not care. When the train arrives at high noon, Kane must face Miller by himself.

Will Kane is one of the greatest film heroes of all time. He embodies masculinity, duty, morals, and law. He has stronger morals than most John Wayne heroes; he is more courageous than Robin Hood. Kane stood up to Miller by himself when everyone turned on him. Gary Cooper gives the performance of a lifetime as the Marshal. His performance is sincere, masculine, and authentic. Cooper’s performance is better than any other Western until that time. John Wayne cannot touch Kane. The rest of the cast is tremendous. Newcomer Grace Kelly is wonderful as Amy. She is innocent and wants to be happy with Kane. She would stay with him, no matter the costs. In fact, Amy is the only one who helps Kane against Miller.

As previously mentioned, High Noon is an allegory towards blacklisting in Hollywood. Will Kane represents the last remaining piece of Hollywood that will stand against the blacklisting, while Miller represents the remainder, who has embraced the practice. Zinnermann was an advocate of blacklisting and this is his response towards it. He chose the Western genre because it showed a time of masculinity and morals, when friends band together to fight off a common enemy. However, this Western does not feature vast landscapes, multiple gunfights, or a classic story. The only action occurs during the last scene between Miller and Kane. The reason that this is not a classic Western is because times have changed. It is no longer about morals and honor, but instead of treachery and backstabbing.

One of the only problems with this film is the fact that not a single person would help Kane. This is a film about blacklisting, which is accomplishes, but in reality, someone would have helped Kane. This is a very controversial film. The film portrays that no one will stand against the Red Scare, but it takes one man to become a martyr to start the movement. Kane and High Noon serve as a martyr against the Red Scare. Zinnerman hoped to show how ridiculous it was with his excellent film.

High Noon is an amazing film that serves its purpose. It wants to showcase the limelight of blacklisting, and how Hollywood needs to stand up against the HUAC. Zinnerman and Cooper do not want others such as John Wayne to run Hollywood and only select certain people for films. Featuring a tremendous performance by Cooper and a very personal and political story, High Noon is a classic Western that changes the genre.

Rating: A-


July 8, 2010

The Sixth Sense

The Sixth Sense (1999)
Hollywood Pictures / Buena Vista Pictures
Directed by M. Night Shyamalan
Starring Bruce Willis, Haley Joel Osment, Toni Collette, Olivia Williams

The Sixth Sense is a supernatural thriller that deals with the innocence of children, remembrance, and perception. The film was directed by M. Night Shyamalan, who directed the 1998 film, Wide Awake. The Sixth Sense is a dark take with some fine acting and superior directing. Dr. Malcolm Crowe (Willis) is a child psychologist who is sent to help with a troubled child, Cole Sear (Osment). One year ago, Crowe was shot by a former patient, and now that he has recovered, he I staking Cole’s case. Cole shows the same mysterious symptoms as his former patient, and Crowe wishes to correct his mistake. Crowe knows that something is seriously wrong with Cole, but he won’t tell him. Eventually after a few unexplainable incidents, Cole tells Crowe that he has a sixth sense, in which he can see and talk to dead people. Crowe does not believe him at first, but after he proves his ability, Crowe decides to help Cole with his supernatural power and cope with his hardships.

M. Night Shyamalan proves with The Sixth Sense that he has a huge potential as a director. There is a slick sense of style in every frame. Every background, every detail is important to the shot and the story. This is a film that requires multiple viewing to pick up all the details and decipher the hidden codes. Hidden messages and surprise twists are staples of Shyamalan’s style. In this film he uses a lot of the color red, which symbolizes love or fear. In this film, it represents clues to the mystery. It acts almost like a danger symbol.

While Bruce Willis has top billing for this film, the real star is Haley Joel Osment. He is young and innocent, and gives his character a sense of sympathy and pity. At one point or another, most of us have walked in Cole’s shoes. No, not being able to see ghosts, but feeling like an outcast. Throughout the film, Cole has no friends, only his mom and the ghosts who frighten him. He is trying to fit in and find his calling; another feeling we all have. Though none of us can say that our calling is to help the spirits of dead humans, we all have a calling and it can very difficult to find it and cope with it.

In what has become the Shyamalan template, all of his films have a surprise twist at the end. Most times in films with twists, the twist is completely unnecessary and does not bond with the film. However, in The Sixth Sense, the twist is subtly built up to, and you wouldn’t even notice. Many little details that reveal the ending are minor and would be overlooked in most films. The Sixth Sense has a strong message of perception that influences the twist ending and the whole film. Both Cole and Crowe perceive the world differently. Cole is innocent, yet is fearful because of the ghosts. Crowe is bitter towards the world because of his profession and his shooting a year ago. The twist ending also signifies perception on Crowe’s part because of how his world is perceived. Shyamalan wants us to really look around us and know our surrounding because they can be deceiving. Also within The Sixth Sense is the idea of child innocence and remembrance. Many paranormal films start with an innocent child that can see the ghosts before the adults can. They are more susceptible to otherworldly objects. Remembrance also plays a large within The Sixth Sense. Most people want to be remembered after they pass away. Cole serves as a median between the natural and supernatural world. Cole is able to help these spirits and help tie up their lose ends.

The Sixth Sense is a suspenseful thriller that plays more with the mind than relies on cheap thrills. There are a few jumps here and there, but the overall horror is ability for Cole and his sixth sense to play with your mind. You feel for Cole and want him to get better or learn to deal with his ability. He carries a huge burden for such a young child. The cinematography and directing is top-notch and proves that Shyamalan could be a great director and writer. The twist ending is very surprising and works within the story, though it may take multiple viewings to pick up on all the minor details that spoil it. Besides some cheap thrills and corny dialogue moments, The Sixth Sense is a great paranormal film that plays with the mind and emotions instead of relying on shocks and jumps.

Rating: B+


July 8, 2010

2012

2012 (2009)
Columbia Pictures
Directed by Roland Emmerich
Starring John Cusack, Chiwetel Eijofor, Amanda Peet, Danny Glover, Woody Harrelson

Disaster master Roland Emmerich is back again with his latest big-budget popcorn flick, 2012, based on the Mayan prophecy that the world will end in 2012. Emmerich, known for other films such as Independence Day and The Day After Tomorrow, beefs up the action and is able to balance out a strong script with it. This film is no masterpiece, nor will it win any Academy Awards, but for what it is, it delivers on every promise. This is probably, besides Independence Day, Emmerich’s finest disaster film. The year is 2012, and the US government has discovered that the earth’s poles are about to shift, causing global chaos including tsunamis, volcanoes, and flooding. Fearing for the extinction of the human race, the governments of all countries build giant “arks” to keep selected individuals alive during the flooding. Meanwhile, author Jackson Curtis (Cusack) is camping in Yellowstone National Park with his children when he discovers a hotspot for devastation. Soon, he is on the run from nature’s fury and gets caught up with Dr. Adrian Helmsley (Ejiofar), who is the lead US scientist behind the operation.

The plot is simple and extremely unrealistic. But in these types of films, it’s all about the special effects and action, and not the plot or acting. The special effects of 2012 are simply amazing. Everything looks fantastic and realistic. The volcano explosions, the tidal waves, the earthquakes: all look as if they were taken from a Discovery Channel special. The action of 2012 is on par with other disaster films. It is pretty much the heroes running from a huge natural disaster and barely escaping in order to outrun the next one.

As with most of these types of action films, the acting and dialogue is somewhat laughable. John Cusack stars as the hero who saves his children and ex-wife from the apocalypse. His acting is very over-the-top and not needed. He doesn’t seem to fit into these types of films. I know that Emmerich wanted a different approach with an author as the hero, but other disaster films star big name action heroes such as Will Smith or Bruce Willis. Danny Glover plays the United States President believably. Unfortunately, he has little screentime and is not used to his full potential. Woody Harrelson plays a hippie scientist with a radio show who predicted the disaster, and is telling the world. He is barely in the film and is wasted. With such a fine actor as Woody, I would have thought he would have been given a bigger role.

2012 is a joyride that showcases Emmerich’s maturity with the subject. In recent years, he has toned down his films and included some reality and emotion instead of pure testosterone. This film shows that humanity will always find a way. Nature will not destroy the human race. By having some sort of message, even if it be simplistic, this shows that Emmerich has grown as a director. If Emmerich can do it, then maybe Michael Bay can be the next to show maturity, but I doubt it. 2012 has some very nice special effects and action sequences, but the plot is so jumbled and outrageous, it cannot be ignored. 2012 promises popcorn flick fun, and it delivers on every level.

Rating: C+


June 22, 2010

Predator

Predator (1987)
20th Century Fox
Directed by John McTiernan
Starring Arnold Schwarzenegger, Carl Weathers, Jesse Ventura, Elpidia Carrillo

Powerhouse action star, Arnold Schwarzenegger, returns to familiar territory with John McTiernan’s Predator. Hot off the successes of Commando and The Terminator, Arnold is once again banking on mindless action, bulging biceps, and corny one-liners. Well, Predator delivers on all three aspects. Arnold stars as Dutch, the leader of a Delta Force task team sent into South America to rescue a presidential cabinet minister who has been kidnapped by guerrilla forces. Coming along for the trip is Dillon (Weathers), Dutch’s old friend who is now working for the CIA. They find the guerrilla camp and destroy it, but find no hostages. Dutch leans from Dillon that the extraction was a set-up in order to destroy the camp. Dutch and his team become infuriated with Dillon. The team sets out back towards the rendezvous location, and learns that they are not alone. The find skinned American soldiers and begin to panic. Some mysterious alien creature is hunting the team, and slaughtering them, one by one. Soon it’s just Dutch and the Predator, fighting for survival and dominance.

Predator features an all-star cast that helps to deliver the thrills and action of an 80’s action flick. Besides Arnold starring, the film also stars Carl Weathers and Jesse Ventura. Every member of the strike team has their own personality. And most of them are bodybuilders, which jacks up the machoism. The action is thrilling and nonstop. As soon as the team hits South America, the thrills just keep on coming. Predator is a very dark themed film. Unlike other Arnold action films, the entire film is a thriller based on fear of the unknown. Because of that nonstop fear, Predator succeeds as a better-than-average action thriller.

The Predator is a wonderful villain. He is a skilled killer, unhuman, and represents man’s fear of the unknown. The Predator has the ability to become invisible; he is unseen, mysterious, and feared. Predator uses this strong representation of the unknown and applies it towards the idea of racism. I say “idea of racism” because perhaps this is looking too far into the film, but there are some strong details that support it. First, the Predator is unknown to the team and cannot be seen, just like racism. Secondly, the Predator has dreadlocks. And lastly, the film makes the Predator into the ultimate villain and tries to make the audience hate him. Of course, this is just one theory behind the Predator, but it’s a sneaky way to broadcast racism.

Besides the awesome villain and action sequences, there are some flaws within Predator. The dialogue is absolutely horrible. Just as every other 80’s flick starring Arnold, Stallone, etc., the films are riddled with cheesy one-liners. Arnold movies are the worse. And there are some very cheesy lines here. Though not as bad as Commando was, Predator amps up the one-liners with such classics as, “Get to the choppa’!” and “I don’t have time to bleed.” The one-liners are sometimes humorous, but most of the time unnecessary and very corny. Besides the amazing dialogue is the wonderful acting by the team. Arnold is not known for his acting at all. But he can actually act. He is better than Steven Segal and Jean-Claude, so that is a plus. However, Predator does have some decent acting by Arnold, but the rest of the cast is just horrible. And this includes Carl Weathers, who I would have thought to be a better actor since starring in Rocky.

Overall, Predator is what we have come to expect from Arnold. But what makes this film better than his others is the science fiction twist with the immensely cool Predator. Even though he is an allegory for racism, he is still a huge threat to the team, and one of the better sci-fi villains, ranking up there with the Alien from Ridley Scott’s classic. Besides the cheesy dialogue and stiff acting, Predator is filled with adrenaline, testosterone, monsters, huge oily men, and Jesse Ventura with a giant machine gun. What else do you need or expect?

Rating: B+


July 11, 2010