Michael Mann feature #4 is MANHUNTER. Instead of a moody portrait of a thief like in THIEF he does one of a profiler trying to identify a serial killer. This is of course Mann’s adaptation of Thomas Harris’s Red Dragon, the pre-SILENCE OF THE LAMBS story of a guy chasing a killer called “The Tooth Fairy” after having caught Hannibal Lecktor (that’s how they spell it when he’s played by Brian Cox). William Petersen (THE SKULLS) plays Will Graham, who FBI agent Jack Crawford (Dennis Farina, CODE OF SILENCE) nudges into the investigation by showing him some crime scene photos and making him feel bad. That was a pretty shitty thing to do because Will is just starting to get his life back together after getting inside the mind of Lecktor also got him inside the rooms of a mental hospital.
Posts Tagged ‘Joan Allen’
TUCKER, directed by Francis Ford Coppola (CAPTAIN EO), glorifies two of executive producer George Lucas’s favorite things: cars and artistic independence. It’s a starry-eyed, big-band-jazz-scored paean to Preston Tucker (Jeff Bridges), an innovator who failed to conquer the post-WWII car business, but at least made a cool car.
The titleistical dream is the idea of the Tucker, “the car of the future today,” a sleek, futuristic sedan with the engine in the back and three headlights that he says will move with the front wheels for safety. He’s just a dude with a scrappy company working out of a barn who invented some turrets for the army and a tank that they rejected because it moved too fast. He still owns one and uses it to drive the family into town to get ice cream. Nobody will invest in his dream until he gets it into a magazine and just acts like it’s something that’s happening. Next thing you know Martin Landau is able to get him meetings and investors. The Secret!
In one sense Tucker is full of shit. He thinks he can make this car, but he lets people believe he already has. He pushes his sons and trusted collaborators into overdrive to figure out how to build a good-enough prototype in time for the big unveiling. Like a movie trying to make a summer release date. The dream runs into the reality of unforeseen problems and limited time and resources, but he’s happy to just build a thing that looks like the concept art. (read the rest of this shit…)
THE BOURNE LEGACY is a sequel with the uphill task of replacing its title character. Not recasting, like James Bond, but creating a new hero, like when Valerie Harper got fired from Valerie and they brought in Sandy Duncan as her sister-in-law. I actually think that’s more interesting than if they just made another Matt Damon BOURNE. I liked those movies but I think they’re pretty repetitive, and they wrapped up that storyline anyway. Enough of that, I say. But I’m surprised the studio thought there were enough people like me to justify making this movie.
(And I thought they were wrong, based on the reviews I’d heard. I know at least a couple of you guys hated it, and I assumed not many went to see it. But I just looked it up and it turns out it made more money than they expected it to and they might do another one.)
(read the rest of this shit…)
FACE/OFF is a crazy one-time-only deal, a strange collision of people and movements that could only really exist in that specific place and time. Not before, and definitely not since. On that day the wave of late ’80s Hong Kong action cinema crashed and exploded against the rocky shores of Hollywood, spraying sideways and soaking Nic Cage and John Travolta, who happened to be standing there. It’s not the only American John Woo movie I like (we’ll always have HARD TARGET and BLACKJACK), but it’s the only one that seems like The Real John Woo. It takes that old Hong Kong John Woo we loved, with all his emotional sincerity and unhinged sense of stylized action, and combines him organically with big budget Hollywood, achieving a smooth balance where the Hollywood bullshit side doesn’t overpower the other one. (read the rest of this shit…)