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 ‘Michael Mann’
I still intend to review all of Michael Mann’s movies in chronological order. I haven’t gotten very far, but the one I’m on, THE KEEP, happens to be Halloween appropriate.
Other than its beautiful craftsmanship, this is completely unlike what we associate with a Mann film. Usually he looks for a higher level of realism than most movies, and to be very up-to-date with the technology and trends of the time. THE KEEP doesn’t do any of those things because it’s a weird, atmospheric horror movie set during WWII.
It concerns a group of German soldiers occupying an ancient stone fortress in Romania that seems to be haunted or something. Father Fonescu (Robert Prosky, LAST ACTION HERO, EYE SEE YOU), the priest and caretaker, warns them not to touch the nickel and silver crosses inlayed in the walls, but a couple of them try to steal one anyway. Behind it is a hole and when one of the looters peeks his head into the dark void something takes away the top half of his body. (read the rest of this shit…)
THIEF is a pure dose of most of what I love about Michael Mann. It’s moody, atmospheric and macho as hell. It matter-of-factly drops us into a gritty underworld, makes us feel like we’re witnessing the real deal, and puts us on the side of a guy who has no business being the good guy except that he lives by more of a code than the other guys do. Not even really a code of honor, just a self-serving code of independence, but one that we can loosely apply to more ethical aspects of our own lives.
By today’s standards it’s an arty movie, full of long, quiet scenes, not a bunch of noises to tell you it’s exciting. It opens with a 10 minute heist sequence where everything goes right. No one gives chase or almost sees them. They’re just very professional about it and perform their jobs well. And it doesn’t need tension. It’s fascinating without it.
It’s a movie that’s low on exposition, high on uncomfortable moments where we aren’t expected to agree with the protagonist (like the aggressive way he courts Jessie [Tuesday Weld], and then the heartless way he cuts her off, treating her as a property that’s been tying him down). But also it has plenty of moments of badassness, not shirking its duty to deliver on the genre goods. Its closest modern equivalent is DRIVE, which at times plays as an homage or ripoff of THIEF. But that’s a character, believe it or not, with more heart. (read the rest of this shit…)
If you count TV movies – and I do – JERICHO MILE is Michael Mann’s directivational debut. It’s not as cinematic as his later big, wide movies, but it’s from the days when TV movies were legit enough to play theatrically overseas. It also stood out from other TV at the time, winning Emmies for writing, lead actor (over Kurt Russell in ELVIS!) and film editing for a limited series or special, and a Director’s Guild Award for “Outstanding Directorial Achievement in Special/Movies for TV/Actuality.” (?)
It’s a prison movie, and you know Mann isn’t gonna want to soften that up. I mean, it’s TV so we don’t get any profanity, racial slurs or rape, but it’s still got a gritty feel because it was filmed in Folsom with the real inmates all around, and plenty of establishing montages that are clearly just documentary footage. You can definitely tell that some of the supporting players are real cons. I wasn’t surprised when I read that Mann had to negotiate for each of the race gangs (white, black and Latin) to have representatives on screen and vow to prevent any race wars or riots during filming so the production wouldn’t be kicked out. I mean obviously it’s an unwritten rule on pretty much all movie sets that the actors should not be involved in any race wars. But I still give them credit for not having one. Apparently there were a bunch of stabbings, one fatal, but those were allowed. (read the rest of this shit…)
I didn’t think it would happen in this generation, but they’ve produced a manly movie star. They had to borrow him from Australia, of course, but so what? Arnold and Van Damme and Mel Gibson and a bunch of those guys were imports too.
Chris Hemsworth has the kind of rugged persona and charisma that makes a man feel inadequate – he’s 2014’s People Magazine Sexiest Man Alive, and last week’s Man Who Makes Me Feel Like I Better Do More Push-ups – but you respect him for it, you don’t resent him. I don’t know if he’ll maintain all the muscles when he stops being an Avenger, but I bet he’ll stay pleasantly macho. He’ll slick back his hair and look good in an undershirt and sunglasses and he’ll put his protective arms around tiny women but also respect their intelligence.
It’s nice that one of the few manly marquee names of the modern age has now had the chance to become Mannly. In Michael Mann’s BLACKHAT Hemsworth plays Mann’s idea of a being more godly than Thor. He’s a convict who splits his time between reading Focault paperbacks and doing handstand pushups. He’s done time both for assault and for hacking. He knows how to use guns and build makeshift armor and beat up multiple attackers using restaurant furniture, but also how to write computer programs. He’s hypersmart enough to glance at a screen full of code and instantly identify clues to its purpose and author, but also worldly enough to travel through multiple Asian countries and break into places looking for a mystery man. He can be counted on to sit with a laptop or phone and breach a highly secure database, but also can wing a plan to explode a truck on the roof of a building as a distraction to sneak in and physically steal a hard drive. (read the rest of this shit…)
BAND OF THE HAND is a beautiful combination of elements: underdog juvenile delinquent brotherhood, island survival, stoic badass mentorship, paramilitary vigilante revenge, Miami Vice style and attitude. I mean, literally, it’s the people who made Miami Vice. Michael Mann is the executive producer. Paul Michael Glaser, who is known for playing Starsky but also directed episodes of Miami Vice, is the director. IMDb trivia claims it was actually released theatrically after failing as a TV pilot, but I’m skeptical about that. It seems a little too awesome to have been made for TV. They would’ve had to go back and do reshoots for additional awesomeness.
I think this is Michael Mann’s version of a RED DAWN type teen action movie. It’s hoods vs. kingpins in Miami, great cast, show-offy camera moves and editing, moody atmosphere, restrained dialogue. And as the cover brags, it has a high grade ’80s pop soundtrack – “Broken Wings” by Mr. Mister, “Let’s Go Crazy” by Prince, a bunch of songs by some band called The Reds that also played on MANHUNTER – even a title song by Bob Dylan, somehow. (read the rest of this shit…)
Johnny Depp as John Dillinger is not a bad idea. He’s a charismatic guy, he projects intelligence and mischief. You believe he could pull off those robberies, charm the press and have the cops pulling out their hair. And Christian Bale makes sense as Purvis, the guy tough enough to take him out but who will spend most of the movie failing and fuming.
Michael Mann delivers a more mainstream, less brooding and macho movie than usual, so most people will like it better than MIAMI VICE (but not me). He still uses that style he’s been fond of lately, lots of handheld shots, all shot digitally, kind of a strange choice for a period piece like this, but not too distracting (or revolutionary, either).
It has some real good gunfights. Not the choreographed sort of way that I usually like but more like MIAMI VICE, chaotic in-the-thick-of it kind of scenes, like you’re an embedded reporter, hearing different gun sounds in all directions. Sometimes one whisks past you or hits a wall near you but luckily you survive. It has some tense scenes, a couple chuckles, the actors are all pretty good. There are lots of little surprise appearances to keep you on your toes (Lili Taylor, Stephen Dorff, Giovanni Ribisi, random Leelee Sobieski cameo). I didn’t even realize that was Bill Crudup playing J. Edgar Hoover. Good job Billy. The movie is fine. (read the rest of this shit…)
MIAMI VICE is the movie version of the old TV show from the ’80s about Crocket and Tubbs. It’s written and directed by Michael Mann, executive producer of the TV show, now know as the humorless, pretentious, talented jackass behind COLLATERAL, HEAT, etc.
Remember that show? We, as a nation, stopped wearing socks when that show came on. We stopped shaving. We started wearing pastel shirts under white Armani jackets. We drove Ferraris and had pet alligators. We listened to Phil Collins and Glenn Frey and all that shit. Our hearts pumped to the rhythm of Jan Hammer’s awesome electronic drum pads. It was who we were as Americans. At least that’s what I keep reading in reviews of this movie. Actually, it is partly true, everybody loved that show and people did try to dress up as the characters. Like you Star Wars freakos only it was considered legit. Everybody from little kids to old men in walkers was wearing those ridiculous white suits and sunglasses. Pretending to be an actor on TV pretending to be a cop pretending to be a drug dealer. It was a fun time and it might be fun to make a movie that transports us back to those days. (read the rest of this shit…)
First off I gotta say, Michael Mann is what you call overrated. What did he do, fucking Miami Vice – some asshole who forgot to shave fighting drug dealers in a pink shirt and no socks – we’re supposed to give the guy a fucking medal? I mean yeah it seemed like a pretty good tv show at the time but it’s not the fucking Parthenon. You belong to the city, you belong to the night. Let’s be a little more humble there, Michael Mann.
(To be honest I’m not sure what the Parthenon is, but what I mean is something good enough to last the ages and always stand as a proud beacon of achievement, etc. i.e. not Everybody Loves Raymond or even Miami Vice.) (read the rest of this shit…)
First off friends welcome to 2002. Sorry about that 2001 business. Just a couple more of these and Bush’ll be gone, we hope. Auld lang sine, etc. etc.
Anyway, enough holiday theme shit, let’s get to the point here. If I had a most anticipated movie of last Wednesday, it woulda been ALI. Why? Because it’s a movie about Muhammed Fucking Ali. To my knowledge it is the ONLY movie playing in theaters right now that is about Muhammed Fucking Ali.
I didn’t know what to expect from this movie though, on account of the casting. The real Muhammed Ali already played himself in the movie THE GREATEST and in the documentary WHEN WE WERE KINGS. And why fix what ain’t fucked? I didn’t understand this new casting of Will Smith in the part. I gotta admit I was pretty pissed, like the nerds get whenever they cast somebody new as Superman, James Bond, Dr. Zauis or Green Aqua.
And that’s what Ali is, is a super hero. Not the kind who wears a cape, although I must admit he does wear boots. Anyway I think we all agree that Muhammed Ali is one of the greatest american heroes there is. You don’t even have to like sports – and I don’t – to understand that Ali is what the kids call “the mothafuckin MAN.” They don’t make ’em like Ali anymore. In fact they never did. It was probaly some typa mistake on the assembly line. Some freak accident that only happens once or twice every thousand-thousand years. (read the rest of this shit…)