Wesley Recommends #2

This is a new column that I am putting up on a week-to-week basis. Basically, I want to focus on some more obscure and underrated films that the general public may not know about and needs to see. Not all of these films I plan on recommending are perfect, but they all have something special about them that I think people should recognize. My analysis of these films will contain some plot and character description, but no major spoilers or anything like that. After all, I'm trying to sell the movie to you, the reader. My second recommendation is one of the first major films to be made in New York City after the 9/11 terrorist attacks: 25^th Hour.

“I have been in three different prisons, Montgomery. Three different countries. And you know what I learned? Prison is a bad place to be.”- Uncle Nikolai, 25^th Hour

I’m not usually a big fan of Spike Lee as a director or a human being. The guy’s personality tends to get on my nerves fairly quickly. He’s existentially an egomaniac (he even sued Spike TV for “stealing” his name… um, what?). I also truly get the feeling that he simply just hates white people. He directs racially fueled films with a sledgehammer and, unlike Oliver Stone who also is heavy hitting with his direction (though in a much different way), they are usually not that enjoyable to watch. However, with all that said, 25^th Hour is not only his best film that I’ve watched but it’s pretty good film in general. 

Based on the novel by David Benioff, 25^th Hour tells the story of Montgomery Brogan (Edward Norton) and his last day of freedom before being locked away for seven-years in prison for drug dealing. This last day of freedom is set against a post-9/11 New York City backdrop, paralleling the city’s own sense of grieving and rebuilding with Monty’s own sense of loss and need to rebuild his life before going away. Benioff’s script (yes, thankfully Spike didn’t write the treatment) cleverly parallels the two subjects and manages to make a very relevant and vastly unique film about the effects of the 9/11 terrorist attacks while telling his own story of loss and redemption. Terence Blanchard’s mournful and somber score really helps to set the tone and amplify this aspect of the film. I wasn’t very aware of this facet of the film upon my first viewing so I was quite surprised to see the quite beautiful opening credit sequence that starts off right in the beam of light tribute from the heart of Ground Zero. You can watch that sequence here.

I really enjoyed how New York City was treated as a character in the film. Along with the use of Ground Zero and its symbolism towards what is going on with the character of Monty, the entire city is made to play into his story. From the very beginning of his last day, he is seen just walking around the city, soaking it up for the very last time. At times, it seems like Monty despises the city and partially blames it for his fall into drug dealing, as seen in the now infamous “Love Letter to New York City" sequence (I’ll get more into this later on). However, by the end of the film, it becomes obvious that Monty is in love with his city, its huge variety of people, and the things that it stands for. This can be seen in the beautiful and somewhat surreal car ride he takes, passing by each of the city’s various inhabitants, who all smile and wave at him as he goes along.

Moving back a little bit to the main storyline, 25^th Hour is very unusual film because seemingly nothing really happens. Monty simply spends his last day with his girlfriend Naturelle (Rosario Dawson), meets up with his father (Brian Cox), and goes out with his two best friends Jacob (Philip Seymour Hoffman) and Frank (Barry Pepper). Despite the very anti-Hollywood story structure, there is actually a lot going on in this movie. Monty spends most of his day trying to figure out who sold him out to the police, worrying that it could have even been his girlfriend. He also is struggling with the fact that he needs to reconnect with his somewhat estranged father. Lastly, he is coming to the realization that he won’t last in prison and that he is going to be raped multiple times. Monty’s friends also have their own problems to deal with. Jacob, a teacher at a local high school, deals with his loneliness and his lustful feelings towards an outgoing and flirtatious student named Mary (Anna Paquin). Frank, on the other hand, is dealing his feelings of disgust for Monty and what he did along with his own lustful and distrustful feelings towards Naturelle. As one can see, there is a lot of drama taking place within the film, though it may not seem so at first glance.

As one can probably tell, 25^th Hour is an ensemble piece of the strongest kind. The cast for this movie is simply incredible. Edward Norton is perfect as Monty and he manages to make the character very empathetic despite his former illegal tendencies. He really holds the piece together quite well. I really enjoyed Philip Seymour Hoffman as Jacob Elinsky, the teacher with the troubled conscience over whether or not he should make a move on his student. He plays the character very vulnerably and you never really feel like the character’s a pervert or a bad person. He just feels like he gets put in the wrong situations and he doesn’t know how to deal with them. I usually enjoy Hoffman in every film he’s in and this is no exception. I also loved Barry Pepper as Wall Street yuppie Frank Slaughtery. His character is very full of himself and cocky but also has his own hidden demons to deal with. It’s really a fun portrayal to see unfold. Rosario Dawson is also good as Naturelle, Monty’s girlfriend who is trying to get used to the fact that her man is going away for seven years along with trying to find out why he is being so distant on his last day. Anna Paquin is great as the flirtatious and manipulative student that may or may not be interested in getting into a relationship with her teacher. Lastly, Brain Cox does a great job as a father who is trying his best to make things right with his son before he loses him to prison.

Despite my dislike for his type of films, Spike Lee does a really good job with directing this film. He keeps his usual racial themes down (thankfully) and really focuses on his actors, getting some truly great performances out of them all. He also shows some unique directorial touches, especially in a scene between Jacob and Mary in a nightclub. After a confrontation of sorts between the two, he places Philip Seymour Hoffman on the dolly with the camera, having him seemingly float across the ground. The look on his face is priceless and, with the sequence set to “Bra” by Cymande, it’s all just really good filmmaking. Another sequence where Spike’s direction really stands out is the now infamous “Love Letter to New York City” sequence. In this scene, Monty goes into the bathroom of a restaurant and sees the words “f*ck you” written on the edge of a mirror. Seeing the words, he begins to go on a rant, saying the same hateful words to every ethnic and racial group in New York City. By the end of the rant in which he condemns the entire city itself, he realizes that he doesn’t hate the city but only himself. The way the sequence is shot is very unique and stylized. It has a strange kind of humor to it as well as the underlying seriousness of Monty’s guilt and self-hatred. You can see the whole thing here if you like.

On the downside of things, there are a lot of times where the movie doesn’t seem to be going anywhere. However, this feeling doesn’t usually last that long and things start to get a little more focused in nature. Also, there is one point where the movie looks like it’s going in one direction that I would have been very unhappy with. However, it turns out to be a fake out and I’m glad for that. The sequence itself is very beautifully filmed, with some spectacular cinematography from Rodrigo Prieto (who also did some amazing work on 21 Grams). If the film had actually gone in this direction, I feel like it really would have cheapened the overall story and its purpose. Other than this, there are not any big problems that I have with the film.

Overall, 25^th Hour is a very well made film about a man’s last day of freedom and how he tries to set things right the best he can. It is very cleverly set against a backdrop of post-9/11 New York City and this helps to parallel and add to Monty’s own story. The acting, direction, writing, cinematography, and music are all outstanding. It’s a movie that really makes you question yourself and what you would do if you were in Monty’s shoes. It will also make you more grateful for the freedom you have and the place that you are from. If you haven’t seen this movie, you should check it out. It’s often overlooked and that’s a shame. It’s not only Spike Lee’s best film but it’s a great film period.

“And maybe one day, years from now, long after I'm dead and gone, reunited with your dear mother, you gather your whole family together and tell them the truth, who you are, where you come from. You tell them the whole story. And then you ask them if they know how lucky they are to be there.”

Movies That Made Me Cry Like a Little Girl

Okay, I admit it. I’ve been slacking badly this week. I’m sorry; I just haven’t been feeling it lately. I just haven’t been inspired. However, I’m prepared to make it up to you through a little self-humiliation. Well, maybe not humiliation. Admitting this doesn’t really bother me that much. Technically, I’m just manning up. I’m going to list ten movies that have made me cry, tear up, or get emotional during the viewing or afterwards. I really don’t cry that much in general, so it’s mostly going to be tearing up or getting emotion. However, there are a few films that really got to me and just made me break down like a little girl. Hey, it happens. So now, I’m going to honor the talent that it takes to do this. You might be surprised at some of the films that made the list. They aren’t all your typical emotional fair.

And yes, I do plan on explaining why these movies get me all emotional. So, if you haven’t seen the film in question, there may be some story details discussed.

10. Lost in Translation

Lost in Translation is just one of those movies that puts me in an extremely relaxed state of mind. I’m usually pretty good and relaxed until the final embrace between Charlotte (Scarlett Johansson) and Bob (Bill Murray) on the crowded streets of Tokyo. I don’t know if it’s the pause beforehand, the inaudible whisper that Bob makes, or Charlotte’s heart broken facial expression, but this is a tough scene to get through without feeling your heart strings getting tugged just a little bit. I think it works so well just because it’s so simple. And simple usually works the best. Watch the scene here. 

9. Chasing Amy

A lot of my friends (mostly Caleb) give me a lot of crap for owning and liking this movie. I really don’t get it. This is not only one of Kevin Smith’s most well received and critically acclaimed films, it’s honestly one of his most enjoyable and personal films. Plus, the ending of the film is so out of nowhere and surprising. I’m just into it. I’m sorry that I actually like the Kevin Smith movie with a little bit of emotion and drama thrown in for once. Still, most of this movie doesn’t really get to me. However, the very raw verbal argument that Holden (Ben Affleck) and Alyssa (Joey Lauren Adams) have in the parking lot of the Ice Rink is pretty hard to watch. I don’t know what it is about this scene but, with Smith’s simple framing and straight forward shooting techniques, it feels very real and very intense to watch. It still gets to me today. I wouldn’t say that I’ve ever cried after this scene but I definitely have felt like I’ve wanted to.

8. Saving Private Ryan

Let’s face it; there are a lot of really emotional sequences in Saving Private Ryan. Whether it’s Medic Wade’s (Giovanni Ribisi) story about his mother, Captain Miller’s (Tom Hanks) very realistic emotional breakdown, the brutal warfare displayed, or the emotionally draining ending, Spielberg’s WWII film is filled with scenes that will make you want to cry like a little girl. However, the scene that kills me every time is the scene where Pvt. Mellish (Adam Goldberg) slowly has a knife driven into his chest by a soft-talking and cooing Nazi. Never has a death scene felt so personal, frustrating, realistic, and devastating as this one. I literary cannot sit down and watch this scene. It’s just too much. To make things worse, the cowardly Cpl. Upham (Jeremy Davies) stands in the stairway just outside the room with a huge gun, listening to his friend being slowly killed and does nothing. You ever bring up Upham with any group of people that have seen this film and the amount of rage you will get for this character due to this scene is unbelievable. What’s scary though is that, if any of us were in his boots, would we have gone in that room? You would think the answer would be an easy “yes,” but we weren’t in that war so it’s hard to really say. Still, this scene bothers and upsets me in ways I truly cannot describe. You can see it here, but I wouldn’t advise it.

7. The Land Before Time

Everyone has a childhood movie that made him or her cry a waterfall when they were little. For most, it is something like Bambi or Old Yeller. For me, it is the original (yes, before they made eighteen sequels) The Land Before Time. For those not familiar with this dinosaur children’s cartoon, it features a heart wrenching sequence early on where Little Foot’s mother defends her baby from Sharptooth, a killer Tyrannosaurs Rex. In the process, she takes a huge bite from the attacking T-Rex and a big fall from a cliff. Then, the heart-breaking scene you see pictured above takes place. Little Foot’s mother dies, leaving him alone to find the Great Valley by himself. I remember watching this in first grade in a hallway screening with a bunch of other little kids. I almost remember completely losing my shit during this scene and breaking down like a little girl. This is just too painful for a kid’s movie. Watch the scene here. I swear you can hear the crying of a thousand little kids in the background. 

6. Raging Bull

I know that this may seem like a strange choice but hear me out. I am still under the strong belief that this is Martin Scorsese’s most depressing and draining film ever made, more so than Taxi Driver. Watching boxer Jake La Motta (Robert De Niro) completely self-destruct and drive all the people that love him away is truly hard to watch. I know that the guy is so unlikable by the end of the film that it is hard to feel pity for him but, for some reason, I still really feel for the guy when he hits rock bottom. There are two scenes that really drain me emotionally. The first is the scene where La Motta is put in jail for getting involved with an underaged girl. In this scene, La Motta screams that he’s “not an animal” and proceeds to smash his fists and head into the concrete wall of his cell until his hands are broken. Then, he breaks down and cries. I got to this scene while watching this movie with my dad and he proceeded to walk out afterwards. It was just too much for him. If you want, you can view the scene here. The second scene that really gets to me occurs when La Motta sees Joey (Joe Pesci), his then estranged brother on the streets one night. La Motta tries to catch up with and make plans with Joey, but his brother ignores him, simply walking back to his car. As Joey starts to get back into the car, La Motta embraces him, kissing him on the forehead and telling him that he loves him. Joey still tries to give him no attention while this occurs. And I was devastated watching it.

5. Ed Wood

This is another weird choice at first glance, but I can back it up. For me, the strongest part of Tim Burton’s Ed Wood biopic is the strong friendship between hack (though well-meaning) director Wood (Johnny Depp) and then struggling actor Bela Lugosi (Martin Landau). It is truly painful to watch Lugosi go from being the famous movie star in Dracula to a morphine addict in crappy Sci-Fi B-movies created by Wood. Still, the friendship between the two is so genuinely displayed that you can’t help but get choked up in a few sequences. Wood really is trying to not only make good films but also get Lugosi back into stardom. He even helps the man get into rehab for his morphine addiction. The scene that usually gets to me is the one that takes place between Lugosi and Wood after a long night of filming in a swamp with a fake giant squid. Lugosi tells Wood how grateful he is for getting the chance to act again and how much he appreciates Ed trying to help out. Ed then offers Lugosi a freshly written monologue to end the picture with. Lugosi says that he already knows it by heart. The scene is very simple but it truly speaks volumes of the strong relationship the two men had.

4. In the Bedroom

My film teacher introduced me to this movie and I got say, it is one of the most depressing movies I’ve ever seen in my entire life. When a jealous ex-husband murders an old New England couple’s son in cold blood, they must go through a terrible grieving process while their son’s murderer walks the streets. This movie displays one of the most realistic portrayals of two older people going through the process of grieving while also trying to figure out how to get justice for their murdered son. The film is full of truly draining moments. The first one that really got to me consists of Matt Fowler (Tom Wilkinson) breaking down after his son’s funeral. The man stands alone in his son’s room, looking around. Finally, he opens the boy’s tackle box, touching the lone piece inside. Once his fingers touch it, he breaks down, slowly putting his upper body on a nearby sketching table. It is not loud or dramatic. It is very simple, restrained, and subdued. It feels so real that I could help but feel my eyes filling up. The other scene that really gets to me is when Matt and Ruth Fowler (Sissy Spacek) both break down and begin to blame each other for their son’s murder. The scene is very intense and is realistic to the point that it is even interrupted by a girl selling candy bars door to door. It is a truly powerful scene that is nearly impossible to not get worked up over.

3. Leon: The Professional

First off, if you haven’t seen Leon: The Professional, do not read this explanation. I am doing you a favor by saying this. Yeah, there are some spoilers in the other explanations, but please, don’t read this if you haven’t seen the movie.

Leon dies. The coolest, childlike hit man ever created and played brilliantly by the great Jean Reno dies. He is shot in the back of the head at the end of the movie by Stansfield (Gary Oldman). I love Gary Oldman and all, but man, I truly wanted to kill the guy after seeing the end of this movie. Not only is Leon one of the coolest and most badass characters ever created but he also finally has a loving platonic relationship with his twelve-year old protégé Mathilda (Natalie Portman). Just when it’s looking like they’re going to live happily ever after together, Stansfield has the entire NYC police force attack Leon’s apartment. Of course Leon kills most of them, but Stansfield is sneaky and manages to get one round right in the back of the hit man’s skull. The scene right before this where Leon lowers Mathilda down into the air conditioning unit to safety pretty much reduces me to tears every time. They both know that they’re probably never going to see each other ever again and it’s pretty heart wrenching to witness as Leon promises her that every thing is going to be all right. I’m usually okay until I hear him say, “I’m gonna be happy… sleep in the bed.” Then, I just can’t take it anymore. Watch the draining scene here.

At least Leon taught Stansfield the ring trick as he died. If not, his death would be completely unforgivable.

2. Requiem for a Dream

Requiem for a Dream is the most devastating movie I’ve ever seen in my entire life. After I watched this movie for the first time, I never ever wanted to try drugs and I kind of wanted to kill myself. I have only been able to watch the movie a total of three times. Each time, it feels like a part of me is dying in the process. It’s kind of hard to describe one scene that makes this film so tear inducing. It’s just the whole thing. It’s just absolutely devastating. It is basically about the destruction of dreams of four ambitious people due to drug addictions. The ending of this film feels like a climax of awfulness for each of the main characters. This sequence is one of the most effective and overwhelming pieces of cinema I’ve ever seen. I think the part that truly destroys me is when the older friends of Sara Goldfarb (Ellen Burstyn) see her after she has pretty much lost her mind on weigh-loss pills and has been operated on. As she walks up to them, she looks like a shell of her former self and they completely break down in front of her. And I did too.

1. Stand by Me

It may be unfair to put this at number one since I just saw this movie for the first time just the other night, but I feel strongly about this one. Based on the short story “The Body” by Stephen King, Stand by Me is a coming of age story about four boys who go off to find the dead body of a local boy who has gone missing. Now, I’m a sucker for these coming of age stories. And nothing else hits my tear ducts faster than a story about a loss of innocence. And that’s what Stand by Me is all about: the loss of innocence and the coming into manhood. The film manages to have a lot of fun and humorous scenes while also having some more serious, heart wrenching moments. I was watching this pretty late the other night and I was all good until I got to Chris’s (River Phoenix) story about the teacher and the milk money. When the poor kid started to break down and cry after his story of being betrayed by an adult, I just couldn’t help it. I don’t know if it was the kid’s perfect delivery, the lateness of the night, or the foreknowledge of River Phoenix’s tragic overdose and death in 1993, but I suddenly felt warm tears running down my face. Yeah, it happened. I’m sorry. I’m only human. You can see the scene here, though I'd advise seeing it in the context of the whole film. The scene where Gordie (Wil Wheaton) breaks down at the end of the film after finding the body was equally as hard to get through. Good job, Stephen King. Good job, Rob Reiner. You both win. You broke me.

Okay, I’ve done my part. I’ve manned up as much as I possibly could. Now, it’s your turn. I manned up last week with my guilty pleasures post and didn’t get any replies. I don’t want to see that happen with this one too. What films made you choke up, get emotional, or shed the dreaded tear?

Wesley's Speed Racer Review

If I had to describe Speed Racer in one word, it would simply be this: colors. Lots and lots of colors. Red. Yellow. Blue. Purple. Orange. Turquoise. Magenta. Every color from the rainbow and then many more. This movie is not only the most colorful movie I’ve ever seen but it’s also one of the most unique, original, and entertaining experiences I’ve had in watching a film in a long time. Sure, it runs a little long (2 hours and 15 minutes) but, honestly, I never looked down at my watch once. How could this movie get so many bad reviews? What the hell is wrong with these critics? Indiana Jones is getting all this praise and Speed Racer gets left out in the cold? I enjoyed this a lot more than Doctor Jones’ latest adventure and then some. Not only is it more original and expertly crafted but it is also made by people that obviously still care about their subject matter. And that care sure shows here.

First, lets get this straight. Although I do remember watching the original Speed Racer cartoon some as a child, I would never consider myself an avid watcher or a fan. I’ve never been a fan of anime and, honestly, I usually cannot stand the stuff. I don’t know what it is but I just cannot get into it in any shape or form. It’s just not my thing. However, with that said, I absolutely loved the Wachowski Brothers’ (or is it just the Wachowskis now that Larry Wachowski has become Lana Wachowski?) take on a live action anime. It was just so colorful, kinetic and bizarre that I just couldn’t get enough of it. The way that they put blurred backgrounds behind moving characters, moved profiles of character’s faces around during dialogue sequences, and tried to put all objects in focus at the same time was something special to watch. The racing sequences (with all these filming techniques being employed) were absolutely insane to watch (the ending of the final race was crazy and really trippy… I actually felt like I was on drugs for a moment there). The random kung-fu fight in the snow was another highlight for this type of filmmaking. This filming technique seems to have turned many film viewers off but I loved every second of it. It was just an experience and I was into it the whole time.

A lot of the criticism for this movie tends to go towards the script. The story wasn’t anything really that new (as far as underdog sports films go) but, honestly, I couldn’t see any big problems with it. What’s wrong with this screenplay? I mean, seriously? I thought that the story for Speed Racer was a lot more focused and effective than that for the latest Indiana Jones. It even gets kind of complex and inventive at times, like with the intercutting between the opening race and everything that lead up to that. A lot of the dialogue felt fresh and genuine. I bought it. I was into what was going on. By the end of the movie, I really wanted Speed to win the final race. I really feel like the movie worked on a story level along with its gorgeous visuals. 

The great cast also helped bring out the screenplay’s strong points. Emile Hirsch, Christina Ricci, Susan Sarandon and John Goodman all give solid performances. Goodman is looking huge these days. As Caleb said afterwards, he may be the largest functioning human being (not in fat, but body size) that he has ever seen. With that said, I really enjoyed his more personal and emotional scenes with Speed. I also really enjoyed Roger Allam as the villainous E. P. Arnold Royalton. The guy was good at getting under your skin and really making you hate him. Good job.

What’s strange that this thing is marketed towards kids. What a strange children’s film. A lot of the film feels like it is more generated towards a teen to adult crowd with some more children-oriented sequences thrown in every now and then. I guess this would be my only problem with the movie. It just got too kid-friendly randomly for me. Still, it’s not that big of a problem and the sequences I’m referring to are actually pretty entertaining due to the way that they are filmed. Ever seen a kid and his monkey get transported into a crazy Japanese cartoon? Well, now you have. And it’s kind of awesome. Still, what a strange kids movie…

By the time the credits for Speed Racer came up, I was really surprised to have a big smile on my face. I really just thoroughly enjoyed this film. Going into it, I wasn’t expecting too much and I got entertained a thousand times more than I would have ever anticipated. Solid directing, acting, storytelling, incredible visuals, and insanely original filmmaking make up the two hours and fifteen minutes of Speed Racer. I realize it’s unusual film techniques may turn off some viewers but the film really deserves better reviews and word of mouth than it has been getting. Speed Racer is not a bad movie. It’s just very original and a whole lot of fun if you are up for a different kind of film experience. I was definitely up for it. I hope the Wachowskis can recover from the financial failure of this film and continue to make something equally, if not more, original and enjoyable for their next film. After all, Speed Racer is light-years better than both of their Matrix sequels… and those things made an insane amount of dough. But, then again, who was really waiting for a really original film adaptation of Speed Racer? Well, I sure wasn’t, but I definitely got more than I could have ever dreamed of getting. And I’m happy about that.

8/10

Wesley's Indiana Jones and the Kingdom of the Crystal Skull Review

*Note: Since most of my problems with this movie come from the script, I'm going to go over some plot points. So, if you want to know absolutely nothing about this movie, don't read this review. I don't plan on spoiling anything big, but you're warned. Honestly though, you should read it to know what you're getting into*

All right, I’ve seen this movie twice now and I’ve been thinking about it over and over again and honestly, I’m sick of thinking about it. Indiana Jones and the Kingdom of the Crystal Skull is not a good movie. When people have asked me how I feel about it, I usually just say, “It was okay.” And that’s it; it’s just “okay.” I felt like I should have just hated the movie with a fiery passion but, for some reason, I didn’t. Maybe I’m just worn out and jaded by now. It’s not like I was expecting much anyways. The film is an entertaining way to kill two hours with some impressive action here and there but, compared to the other brilliant entries in the Indiana Jones series, it is a massive disappointment in the area of story. After all, a movie’s main objective is the act of storytelling. And well, there really wasn’t much of a story here to tell. What follows is a plot that goes in a thousand different directions, some ridiculous but fun action sequences, wads of nostalgia and Spielberg and Lucas trying to remember how to make an Indiana Jones movie.

Basically the biggest flaw of this film is, in all honesty, George Lucas. The man has remained stubborn for the past nineteen years on having an alien element in the new Indiana Jones film. Now, the movie’s out in theater’s and it appears the man has gotten his wish. And it’s just as awkward and strange as you imagined it would be. I’m sorry if you weren’t aware of this element being in the film but it’s really best that you know going in. Hell, I knew getting into it and it still took me out of the film. Aliens do not belong in an Indiana Jones film. The two are very separate things and it seemed that everyone was aware of this fact except for George Lucas. So, what do they do? Well, I kind of felt like they tried to act like having aliens wasn’t that big of deal. I really could feel like they were trying hard to side step the issue in the screenplay because they knew that audiences just weren’t going to buy it. Oh no, they’re not spacemen- they’re interstellar beings. They’re not going to space; they’re going to the space between spaces (seriously, what the hell does that mean?). If you guys were so embarrassed to have aliens in your film, you shouldn’t have had the damn things in there. Spielberg and Ford should have just stood up and said, “Hey, Indiana Jones and aliens just truly don’t mix, George. We need to go with another story.” But, they didn’t. They just tried to side step it. And that’s why it’s taken nineteen freaking years for this thing to get put together. It’s because George has been so stuck on this one bad idea and they’ve never been able to get around it because of his ridiculously stubborn nature. So, they just had to minimize it and side step it to a point that it really didn’t even matter anymore. However, it was still there and it sticks out like a sore thumb. After the second time I saw the movie, Caleb came up to me and asked, “What was even the point of the aliens?” Well, honestly, there’s not much of one. It’s just what George wanted to see and, damn it, it’s what he got. What a self-indulgent asshole.

I got some bad vibes from this movie from the very first image. Yes, I enjoyed the classic transition between the Paramount mountain to a little mountain of dirt in the desert. What I didn’t like was that little mountain of dirt being destroyed by a fake looking CGI prairie dog. From the very beginning of this project’s production, Spielberg has been trying to assure fans that he would use very little CGI. However, this is not the case. There is a lot of CGI throughout this Indiana Jones installment and most of it (but not all) looks pretty bad. The worst example of it has to do with a plot element discussed in the paragraph above but I don’t really feel like getting into that. But while we’re on the discussion of the prairie dog, what the hell was Spielberg and Lucas’ fascination with cutting to animals? They cut to the prairie dogs at least three times and then there’s that dreadful scene with Shia LaBeouf and the monkeys. Oh god… that was so embarrassing and weird to watch. But yeah, I really don’t get the sudden obsession with cutting to various animals for a cheap laugh from the average drone of an audience (yep, the second one I was with ate this crap up for some reason). And what was up with that jeep full of kids playing “Hound Dog” and racing the Russian soldiers at the beginning? Yeah, I guess you could say it was an introduction to the 1950’s setting but it mostly seemed to be very pointless. I mean, what in the world were those kids even doing in the desert?

That brings me to something else that really bothered me about this movie. Indiana Jones in the 1950’s was just something that was awkward to watch. I guess you could say it was a culture shock of sorts. It just didn’t feel right to see the man with the hat walking around on the same sidewalk as greasers. Yeah, I know that they were maybe trying to get across the fact that maybe Indy was now out of element but the final effect just was awkward and strange to me. It just made the whole beginning of the movie not feel like an Indiana Jones film. What was the point of most of it? They introduce the 1950’s setting, the threat of the Russians and the Cold War, and an interesting little subplot involving the Communism witch-hunt by the FBI and then… they drop all of it in the second half of the film. By then, we’re just looking for Crystal Skulls and none of that crap even matters. So why bother to even set it up if there’s no pay off? That’s a big problem with this movie; the script by David Koepp just goes all over the place. Koepp is usually a hit-or-miss for me. He wrote some good screenplays for Jurassic Park (co-written with original novelist Michael Crichton), Spider-man, Panic Room, and Carlito’s Way and some not-so-great screenplays for The Lost World: Jurassic Park and War of the Worlds. Here, it seems like he took elements from all the screenplays written for this movie over the past nineteen years and mashed it all together into one mess of a story. It just doesn’t work.

What else bothered me about this movie? Well, for one, it just was too ridiculous to take most of the time. Now, don’t get me wrong, but I am aware that the action in Indiana Jones films has always been over-the-top and cartoony at times. After all, he did drop out of an airplane and fall into a river hundreds of feet below and survive in the cushioning of a blown-up raft in The Temple of Doom. However, this latest installment takes that kind of suspension-of-disbelief and pushes it to the max. I just couldn’t help but shake my head at certain sequences such as the aforementioned sequence with Shia and the monkeys (this really was embarrassing to witness) and a certain scene with Indy and a refrigerator (come on, really?).

Anything else I have a gripe with? Well, as I mentioned at the beginning of my review, this film comes with wads and wads of nostalgia. Now, as you can probably tell from my previous articles, I’m all about nostalgia. However, this movie has brought me to my limit. Think of a big bucket of popcorn that you buy for ten bucks that is soaked with liquid butter to the point that it shines in the light. Hell, it even shines in the dark of the theater. Well, Indiana Jones and the Kingdom of the Crystal Skull is the popcorn and nostalgia is the artery-clogging butter that is soaked through it. It might be fun to eat at first but, by the end of the film, you’re going to feel pretty sick. Well, that’s kind of the experience I had with this film. It gets so nostalgic and self-referential at times that it seems goofy, silly, and overly sentimental. You kind of just want to tell Spielberg and company that “Hey, we get it. You’re doing Indiana Jones again. Now move the hell on and tell me a new story with the guy that I love so much!” However, they’re too busy patting themselves on the back to do so.

Did anyone feel like Spielberg kind of forgot how to shoot an Indiana Jones film at times? I really felt like he was trying to remember as he went or something. It just felt like he was shooting Indiana Jones like he thought he would have shot Indiana Jones nineteen years ago. It kind of felt like a self-tribute (or self-parody depending on how you look at it) and it was strange to watch.

With Spielberg trying to maintain his directional hold on his former self, there was another thing that made this film feel less like an Indiana Jones movie. That factor would be cinematographer Janusz Kaminski. Now, don’t get me wrong, Janusz is a wonderful cinematographer. The work he has done on Spielberg’s more serious projects such as Schindler’s List, Saving Private Ryan, and Munich is just stunning. However, his lighting is so standout and a trademark that I feel like it is distracting in Spielberg’s more action-oriented and “magic”-fueled projects such as Minority Report and War of the Worlds. Indiana Jones is no exception. Janusz did not light this movie like the rest of the Indiana Jones films. Therefore, it feels less like Indy. I know Spielberg told fans that he was coaching Janusz on how to light an Indy film (and reportedly Janusz watched the original Indiana Jones trilogy multiple times to study Douglas Slocombe’s classical lighting style) but it just doesn’t show. Sure, he does use a more restrained style than usual but, in the end, it still stands out as Janusz as having his way. For example, one scene that I found particularly distracting was when Indy is tied up in a Russian tent and is being interrogating and is held subject to the Crystal Skull. In this scene, there is a strange lamp to Indy’s right that has an unusual blue glow coming out of it. The light gives the scene an unusual aesthetic, something that was not an element of the lighting of the original Indiana Jones films. I know this may seem like a ridiculous and nit-picking kind of complaint but I remember sitting in the theater and thinking, “That jerk just had to put that light there didn’t he?” It was something that just didn’t have to be there is all. It was self-indulgent on his part. It, like all of the bad decisions made in this film, could have easily been avoided.

One of the biggest problems I had with this movie was the climax in the Kingdom of the Crystal Skull. It seemed like everyone involved was pretty bored with what was going on (I won’t say what due to spoilers) and therefore, everything, from the acting to the directing seems uninvolved. This is one of those scenes that I know George probably had a lot to do with and seemingly fought for and it’s obvious because no one’s heart is really into it. It just seems like bored filmmaking. Plus, it kind of felt too similar to the climax of Raiders of the Lost Ark, only not as cool or involved. It also had really bad CGI. However, I would say that Cate Blanchett really did a great job with what was going on with her character. She managed to give the ridiculous sequence some impact and weight. Good job, Cate.

So, you must be thinking that if I thought the movie was “okay,” I had to like certain elements of it, right? Well, yeah, of course I did. After, it’s hard not to like an Indiana Jones movie, even if it’s not a good one. As mentioned in my first paragraph, this movie has some truly great and entertaining action sequences. As Spielberg promised (one of his few to actually come true), he shot all his action sequences in an old school type of fashion and I enjoyed the crap out of them because of that. I cannot tell you how refreshing it is to actually be able to tell what is going on in an action sequence. All of the ones featured in Indy’s latest opus were just like that, were well put together and filmed. Yes, they tended to get on the over-the-top side of things more than once but I still enjoyed them for what they were worth. They actually got my dead heart beating more than once and I appreciated that. The jungle chase (minus the part with Shia and the monkeys… they just had to try and ruin a good sequence) was definitely my favorite of the bunch and I felt kind of like a little kid watching it unfold in front of my eyes. I even enjoyed the CGI-heavy ant section of this sequence. Sure, it was outrageous and nonsensical but I was really having fun with it. Yes, some good ole’ Spielberg magic was here in little jets of energy… too bad it was lacking in the rest of the film.

Harrison Ford (or Mr. Ford as my brother and I like to refer to him as) is obviously another reason that I enjoyed this movie more than I should have. Ford truly is able to get right back into the famous character and because of this, I watched this flawed film. There are times were he seems bored with the situation he is in (bits of the opening interrogation and the FBI interrogation scene) but there are also many sequences were he is Indy through and through. He even saved a sequence that could have been pure cheese (and the now infamous quick sand / snake sequence) for me. Yeah, the whole scene is silly but, due to Ford’s great comic timing and reactions, I bought it and really had fun with it. He also helps sell a lot of the action sequences in the film and makes them fun to get through. Ford is one of the few actors that I have a lot of respect for and it’s good to see him back in his element here again.

Although Harrison Ford is the main attraction as far as casting goes, I did in fact enjoy a lot of the supporting players. It’s good to see Karen Allen back reprising her role as Marion Ravenwood from Raiders of the Lost Ark. Out of all the women Indy has had, Marion always felt special and I’m glad to see her back and in her element. The argument she has with Indy in the Russian truck with Shia present felt like a sequence right out of the original trilogy. It was really beautiful to watch. If she had not been present, I feel like the movie would not have had any kind of heart at all. I also feel like Shia LaBeouf didn’t do that bad of a job. I was really annoyed when his casting was announced but he did the best he could with the role that was written (annoying sidekick) and made me care about his character a little more than I should have. Last but not least, I really liked Cate Blanchett as the evil Irina Spalko. Yeah, her character was pretty over-the-top but I really enjoyed her portrayal. She just felt like an old fashioned villain from a 1930’s serial and I enjoyed that aspect of her. Cate seemed to realize that she needed to play it this way and seemed to have fun with the role. Of course, this all could just be the crush I’ve had on her since Notes on a Scandal talking…

John Williams also returns to the Indiana Jones film universe and, unlike Spielberg and Lucas who seem to be having trouble remembering how to do their respective jobs, the famous music composer does not disappoint. First, let me say this, I love John Williams and his scores. As far as I am concerned, this man can do no wrong. I could film someone walking down the street and he could make it seem interesting somehow with his music. He is a big part of the magic that is in so many of Spielberg’s films and he manages to inject some much-needed magic into this film. I cannot tell you how wonderful it was to hear not only the Raiders March but also Marion’s Theme and the haunting Ark of the Covenant Theme again. I also really liked William’s theme for the Crystal Skull. It really made it more mysterious and sinister in nature. I feel like his score really made the previously mentioned scene between Indy and the Skull in the Russian tent actually tense and not as laughable as it looked. I also like Irina’s Theme he did for Blanchett’s villain. It’s a very simple theme that never borders on the over-the-top. However, he manages to inject of a lot of Irina’s evil nature into it and it’s beautiful to listen to. Williams has never disappointed me with one of his scores and this is no exception.

What else did I like? Even though I talked about how the film felt like an overload of nostalgia earlier, I do believe that some of it worked well and was fun. For example, I did enjoy the old school title credits at the beginning of the film. I also enjoyed the old fashioned way that Spielberg introduced Indy by playing with the image of his hat along with his shadow on the car. This is sequence really felt like an old film and I feel like Spielberg probably had the most fun filming this kind of stuff. I definitely had fun watching it. If only they had been able to maintain this kind of mentality through the entire film. Another little nostalgic moment that warmed my heart was seeing that wonderful montage of Indy flying in an airplane while cut with a map of the world and a red line showing where he is traveling. This stuff was right out of the original trilogy and it put a smile on my face to see it on the big screen. I also really loved seeing Indy go through creepy temples and graveyards to find the Crystal Skull. This was actually my favorite sequence of the film because it felt truer to the original movies than anything else in the film. I’m sorry, but Indy going through dangerous, insect infested, spider-web filled tombs looking for artifacts will never get old to me. They really could have just filmed this stuff for two hours and I would have probably liked it more than the film they came up with. And while I thought most of the 1950’s material in the movie was throw away stuff, the image of Indy looking out over the desert at a mushroom cloud explosion was haunting and beautiful.

In the end, Indiana Jones and the Kingdom of the Crystal Skull is a disappointing but entertaining film. All in all, it feels about average. There are a lot of bad decisions that were made in coming up with the story for this movie and boy does it show in some embarrassing and silly sequences. Still, there is some magic hidden deep down and some truly fun and well-shot action sequences. I was really hoping that Spielberg and company could show all these hacks in Hollywood today how to make a solid action adventure again and, while the action sequences work, the rest of the movie is just as standard as most films today. And it really shouldn’t be that way. I mean, you guys have had nineteen years to get your shit together. It should be a lot better than what we got. Again, I blame Lucas and his incredibly stubborn, alien-obsessed nature, but there’s much more that had to go into this than just that. It kind of feels like, when they weren’t being self-indulgent, that they just tried too hard. I’d like to think that everyone went into this trying so hard to make another good Indiana Jones movie that they just went too far in doing so. In fact they went so far, that we got a movie that goes in a thousand different directions, kind of like my heart is doing right now.

I really don’t know what I’m supposed to think anymore. I’ve just exhausted myself thinking about this film for the past two days (along with seeing it twice) and I’m just tired of it by now. I don’t know what I’m supposed to think, okay. I wanted to love this thing so bad. I really did. But, if Spielberg and company cannot make a great movie, well, there’s not much I can do on my part you know. I think I’m just tired of being disappointed and let down over and over again by Hollywood. I mean, is it really that hard to make a good fanboy movie anymore, guys? Really? Because you’re killing me inside and I’m sick and tired of caring about all of this so damn much.

Indiana Jones and the Kingdom of the Crystal Skull isn’t the worst movie I’ve ever seen or anything like that. I’m not saying that at all. It’s just “meh.” It’s the kind of thing you see once in the theater, enjoy it for what’s worth, and then maybe you rent it. But, because it’s Indiana freaking Jones, you feel like it should be more is all. And it should. But, despite all it’s flaws and bullshit, there’s some good things about this movie. One thing I’ve noticed in going to see it twice is that it’s one of those things, despite the quality of the product, that really brings people together. Who doesn’t want to see an Indiana Jones movie? It doesn’t matter if you’re in your fifties, teens or just a child; you have a connection with these movies in some way. I can’t remember the last time seeing a family come to a movie together made me feel good inside. The first time I saw the film I went with my brother and my grandfather, who had wanted to bring us to it. Despite not loving the film, it was really nice to share the latest Indiana Jones film with my grandfather, who had watched the original trilogy with me when I was a child. It kind of felt like that the movie didn’t even matter afterwards, like it was just the experience really. He liked the movie. So maybe that’s all that matters. The fact that he got to enjoy the movie with us is the thing that I have been the happiest about concerning this film.

So, if you get the chance, go see this movie with your friends or family and make up your own mind. Yeah, it’s not perfect and it’s pretty silly but it’s also entertaining and it’s Indiana Jones. I mean, how could you not see an Indiana Jones movie in the theater if you had the chance? I didn’t really love the film but I saw the thing twice just because it’s Indy. I’m just hoping they leave the series dead after this. I really don’t think I can make through an adventure with Mutt Williams.

And just if you’re wondering, no, it’s not as bad as Episode I and II of the Star Wars prequels. After all, Lucas wasn’t allowed to write the screenplay and direct Indy. Thank God.

Just so you know where I stand:

Raiders of the Lost Ark: 10/10

Indiana Jones and the Temple of Doom: 10/10

Indiana Jones and the Last Crusade: 10/10

Indiana Jones and the Kingdom of the Crystal Skull: 6/10

Batman and Robin: How is this a Real Movie?

So, it was late last night, I was having trouble sleeping (as I have been in the last few days) and what did I find on television but good ole’ Batman and Robin. Morbid curiosity took over me and I began to watch the film for the first time in years. And I’ll be damned if I didn’t have a great time doing so. Yes, this movie has been trashed to death and then some. It’s so ridiculously bad that it honestly doesn’t make sense. Many have declared it as not only being the worst movie superhero movie ever made but also literally the worst movie ever made. Period. To write a long article trashing the film would be too easy and, honestly, would take too much time. However, if you know just how awful the movie is going to be getting into it, it can be quite the fun experience. This movie is absolutely hilarious in every way. I had fun enduring all of Arnold’s horrible ice puns and watching Uma Thurman overact. So what I’m going to do for you guys is to give a list (and a great video here) of why not only Batman and Robin is a terrible superhero movie but a hysterical one:

-My favorite aspect: All of Mr. Freeze’s awful, awful ice puns. My favorites include: 1) “What killed the dinosaurs? The Ice Age!” 2) “Alright everyone, chill!” 3) “Cool party” and last but not least 4) “Let’s kick some ice!” (Oh what the hell, that doesn’t even make sense!)

-Those close-ups of crotches and buttocks of our heroes as they suit up. Um, what? Pervert.

-The infamous bat-nipples.

-That hilarious video of how Arnold becomes Mr. Freeze. Listen to the sounds he makes.

-Arnold’s acting ability / how he delivers every line of dialogue

-George Clooney’s complete lack of knowledge of what makes up Batman and his awful portrayal of the character thereafter.

-“Batman on ice” (question: why would Batman and Robin ever have ice skates built into their boots?)

-Batman and Robin surfing through the sky off of Mr. Freeze's rocket into a furnace. 

-The fact that it is so easy to thaw everyone in the movie after they are frozen with little after-effects on the individual.

-Poison Ivy doing a seductive dance while dressed as a big gorilla.

-The ridiculous bidding war over Poison Ivy where Batman pulls out his own Batman themed credit card and exclaims, “Never leave the cave without it.”

-Bane re-imagined as a super skinny guy that is made huge by some kind of toxins.

-All the cartoon sound effects during the fight sequences.

-Commissioner Gordon’s hilarious delivery and exit afterwards of “Miss Ivy, you’ve just met one of the most sinister men in Gotham.”

-The “conflict” between Batman and Robin. Gotta love that dramatic shot of Robin yelling after Batman disables his bike and goes off to save the day.

-Jesse "The Body" Ventura cameoing as a guard in Arnold’s cell in Arkham.

-The fact that the villains jump over a hundred stories down from Arkham Aslyum into the waters below and survive.

-That cheap “Alfred is dying” subplot to try to get emotions stirred.

-All the horrible non-ice related puns that occur throughout the movie.

-The overly-colorful / “this was shot during a dance rave” lighting of the film.

-The fact that this movie was only made to capitalize on and sell toys and merchandise, something that is even referenced to by Poison Ivy herself.

Hey, I actually still have one of these. Crazy.

I still really cannot believe this movie was even made. It’s so insanely bad that it doesn’t even make sense. I can't believe I loved this thing as a kid. Yes, I ate this stuff up. I guess Schumacher did know what he was doing. Kids with no sense will love this movie. But yeah, it's bad. Real bad. However, after watching some of it again last night, I can’t wait to buy it on DVD. This movie is so bad it’s good. It’s hilarious. I can’t wait to re-watch this thing with a big group of people. 

I gotta be honest, I was in love with this girl back in the day. Of course... I like ten... but it felt like love...

And yes, here's a video of director Joel Schumacher actually apologizing for the movie. Good stuff. You know it's bad when a director has to do this. 

I have an Interview!

Being a blogger puts one into contact with individuals of a different stature. The blogger universe is one where anyone can say anything and have many friends. I am pleased to announce that I am an interviewee on the blog of a good friend of mine, Michael Ford. Michael, I feel, is the perfect role model for anyone. His wit and charm go unmatched in the blogging universe, and it truly is an honor to represented on his outstanding opinion page The Ford Retort. Please visit Michael's page often, not only to see my interview, but to hear the inner workings of a genius mind. Hopefully this partnership will be fruitful as this interview series blossoms in the posts to come.

Midnight Snacking!

Yeah, snacking on the pretentious junk that is movie blogging. I can't sleep tonight, so I decided to look for ways to draw people to our site, and in browsing found myself looking at other, similar blogs. I know that YDKS is in its infancy, so we do not have the resources to go to Cannes, and we have to wait till opening day to see movies, and even then we might not have the review to you until the next day, or two weeks as was the case with my pathetic Speed Racer review. I know the above sentence was not particularly eloquent or grammatically correct. The point is, I think we are pretty unconventional. And we are getting better at this. Wesley is a master of awesomely long and relevant posts, and I the shorter things, and that is just the way it is right now. But I was reading some of the other movie blogs, and they are all the same. I don't know how critics get famous by being just like everyone else. And critics do have the same opinion except for the occasional rebel who speaks out against Lord of the Rings only to slip back into conformity come next Friday. I don't understand, but hopefully this learning experience will bring about some reflection and change. Also, I have decided to critique other movie blogs and provide more bulleted listing in my post. But, for the rest of tonight, I am a tad full!

Wesley Recommends #1

This is a new column that I would like to start putting up on a week-to-week basis. Basically, I want to focus on some more obscure and underrated films that the general public may not know about and needs to see. Not all of these films I plan on recommending are perfect, but they all have something special about them that I think people should recognize. My analysis of these films will contain some plot and character description, but no major spoilers or anything like that. After all, I'm trying to sell the movie to you, the reader. My first recommendation is an underrated film from 1983: The Dead Zone. 

“If you could go back in time to Germany, before Hitler came to power, knowing what you know now, would you kill him?” - Johnny Smith, The Dead Zone

Since I recently started reading Stephen King’s The Dark Half, I figured my first recommendation should be a Stephen King inspired film. One of the most effective and underrated films based on a Stephen King book would have to be David Cronenberg’s 1983 adaptation of The Dead Zone starring Christopher Walken, Brooke Adams, Tom Skerritt, and Martin Sheen. The movie was also produced by Debra Hill, who produced Halloween and Escape from New York. So, The Dead Zone had Cronenberg, King, and Hill all apart of the film in some way. It’s like a film made in horror movie heaven. Contrary to popular belief, the USA television series starring Anthony Michael Hall is not the first adaptation of King’s Dead Zone novel. Cronenberg’s film adaptation not only came first but also was much truer to the original work’s story and tone.

The first time I saw The Dead Zone in October of my freshman year of college, I liked the film but, for some reason, just didn’t love it. There was something cold and distant about the film that I just couldn’t put my finger on. However, over time, the film has really grown on me and honestly, I cannot find many things wrong with this expertly crafted film adaptation of King's novel.

For those not familiar with the novel, the TV series, or this film adaptation, here’s a creepy trailer and a plot synopsis from IMDB:

“Johnny Smith is a young schoolteacher with his whole life ahead of him. Unfortunately, after leaving his fiancée’s home one night, he is involved in a wreck with an 18-wheel tractor-trailer and is in a coma for 5 years. When he wakes up from it, he discovers he has an ability to see into other people's lives, past, present and future, by coming into physical contact. But the visions he has are often frightening, and even apocalyptic…”

If I had to summarize this movie up in one word it would have to be atmosphere. Set in the bleak snow bound landscape of New England, Johnny Smith’s world is nothing to envy. The snowy, barren landscape really helps to symbolize Johnny’s isolation from the rest of the world due to his “condition.” That’s one thing that this movie really manages to get across: the constant pain and torment that Johnny goes through because of his visions. The visions are so draining to Johnny that they are actually causing him to slowly die. Christopher Walken manages to convey all of this like no one else could ever do. I know Walken is known usually for some pretty off-the-wall and zany roles but his performance in The Dead Zone is beautifully understated and perhaps the performance of his career. The man constantly looks exhausted from the strain of his condition while also showing some nice moments of strong emotion, especially towards Brooke Adams, his distant love interest, and the little boy he befriends and tutors. Walken only really has one “eccentric” moment in the film, which is “the ice is going to break!” line. However, it works within the context of the scene and I really enjoyed his delivery. The movie is really a one man show and Walken does incredibly well with the lead role, playing it straight and showing some real acting chops. I really felt for the guy through his horrible ordeal and it was mostly due to Walken’s great performance.

The thing that initially attracted me to seeing this movie was the fact that David Cronenberg directed it. Cronenberg does Stephen King? Yeah, there was no way that I couldn't see this film. For those not familiar with Cronenberg (and shame on you if you are not), he is the director of such films as The Fly, Scanners, Videodrome, The Brood, A History of Violence, and Eastern Promises. He’s one of those directors that have that rare ability to make me very creeped out and uncomfortable. Although The Dead Zone is much tamer than most of the director’s other efforts, it still definitely has its moments of dread and eeriness. Although there are many horror elements in The Dead Zone, Cronenberg has a strong hold on all of the quieter and more character driven moments of the film. He really helped me feel for Johnny’s plight and his constant loss of connection with the people he loved. He also manages to fill the film with the previously mentioned snowy New England atmosphere, making Johnny Smith’s world a much bleaker and hopeless place. Still, when horror called, Cronenberg was there with guns blazing. Cronenberg makes Johnny’s visions as terrifying as they are to him, putting the audience right in his shoes. The vision sequences are cued by a sharp string music cue as Johnny tenses up. I’ve heard that Cronenberg helped Walken out with these moments by firing a .44 magnum off camera without telling him when he was going to do so. Cronenberg then puts Johnny and the audience right into the visions, making them intense and personal.

Another section of the film that Cronenberg truly excels at is the murder-mystery subplot. With Johnny’s psychic ability broadcasted over the news, a sheriff comes to him with hope that he will help out with an ongoing and unsolved murder case. Here, Cronenberg creates some of his most eerie sequences and grim atmospheres, especially the sequence that’s filmed inside of tunnel (which is supposedly haunted in real life) where the killer has struck. This section of the movie is probably the most famous due to a certain sequence with a pair of scissors. It’s one of the oddest, unexpected, and creepy things I’ve seen in a film for a long time. If you ever saw that “One Hundred Most Scariest Movie Moments” count down on Bravo, this was one of the moments. It’s a very Cronenberg moment and it’s hard to get out of your head once you see it. So yeah, look out for that.

So, what else did I enjoy about this movie? Well, how about the late Michael Kamen’s understated but hauntingly beautiful score? The score really helped add to the dreary atmosphere, amplified the horror-filled visions, and made the impact of the love story much more powerful. The main title theme is pretty memorable and it’s sad to hear it now that Kamen has passed. Another thing that I liked about the movie is Martin Sheen and film’s drastic last act. Kind of like the recently reviewed Sunshine, the last act of The Dead Zone is fairly different in tone from the first two acts. The film suddenly becomes very political and shows how an act of assassination could possibly be justified. Despite it’s change in direction, I still felt that this last half worked quite well in the context of the rest of the film and really helped to further tell Johnny Smith’s story. Another thing that I liked about this half of the story is the inclusion of Martin Sheen as politician Greg Stillson. Sheen plays the role as charismatic but bad-to-the-bone as possible and seems to really have a ball doing so. Sure, it’s a little over-the-top but it sure is a blast to watch. The scary thing is that there probably aren’t too many politicians that are far off from being just like Stillson.

Is there anything I don’t like about this film? Well, the chemistry between Walken and Adams is off-and-on for me. There are times when I think their relationship works great and there are other times where I don’t feel a hundred percent on it. I attribute most of this to Adams’ acting ability and not Walken’s. Still, despite this off-and-on feeling, I feel like the relationship still works for the film and plays as the heart of the story. As I mentioned earlier, there are times where the film just feels a little cold and distant in general. However, this feeling usually passes and I am able to get back into Walken’s character and his ongoing plight.

Overall, I feel good about this being my first recommendation. The Dead Zone is a truly underrated film that boosts a great performance from Christopher Walken, some chilling sequences, solid direction, a great score, and some eerie atmospheric moments. The character drama all works well along with the film’s well-crafted horror sequences. Although the film is definitely one of Cronenberg’s lighter efforts (if you can believe that), it is also one of his most powerful, emotional, and creepy films to experience. This film has a little of everything: horror, tragedy, morality conflict, politics, and love. By the end, you’ll feel like you’ve really experienced something special but you just won’t be able to exactly put your finger on why. It’s definitely one of the best adaptations of Stephen King’s works and it will make you forget all about that pale imitation of a television show on USA.

Check this movie out if you get the chance. If you’re really cheap, you can find the whole movie on YouTube (for now anyways). I’d recommend you see it on DVD though.

“It was like… a blank spot, a dead zone.”