TYLERdurden74

57. THE GAME (thriller/action, 1997) On the day of his birthday millionaire businessman Nicholas (Michael Douglas) is visited by his brother Conrad (Sean Penn) with a gift. The gift involves Nick signing up for a mysterious company which offers a 'game', which in turn offers participants a series of surprises that 'provides whatever is lacking' in their mundane life. Though a rather pessimistic and somber character Nick accepts in hopes of escaping the machinations of a solitary lifestyle. When the surprises the game offers become seriously deadly Nick wants out. But this particular game doesn't seem to offer any escape.

Critique: Nerve-wracking, high-wire act of a movie directed with guile precision by David Fincher. So far all of Finchers' features have been critically as well as financially good, unusual for someone whose concentrated on subversive material. Michael Douglas is good in the role of another heartless business-type in the 'Gordon Gekko' mold. He gives this character just the slight of hand & vulnerability panic that takes him into 'Twilight Zone' territory. It's also good to see Sean Penn in a less character driven role.

Film is made in such a way that every detail and action has an equal surprising reaction. The chaotic yet sequential events reach a climax of implausibility, yet they suck you in with its pervasive appeal. When the credits roll and you know its truly over it is strangely satisfying yet disappointing.

QUOTES: Conrad: 'What do you get for the man who has everything?'

54. THE ARRIVAL ('sci-fi', 1996) Obsessed with finding alien life, radio astronomer Zane (Charlie Sheen) scans the universe for any trace. Suddenly a signal is picked up. He takes the evidence to project leader Giordan (Ron Silver). Without reason Giordan dismisses the signal as a hoax and immediately closes the project. But Zanes' suspicions lead him to Mexico, origin of the mysterious signal.

Critique: Once in awhile the 'sci-fi' (like the 'horror') genre produces a film that to some extent redeems it of some of the saddest excuses in its long and curtailed history. 'The Arrival' is one of those films as well as one of the smartest.

Writer-Director David Twohy is better known for penning some nifty action flicks (e.g. 'The Fugitive'). But this departure seems to fit him like a glove. The result is an intriguing blend of high-brow concepts with good ol'-'sci-fi' intrigue reminiscent of 1950s flicks. It has the feel of some of the classics like 'Invasion of the Body Snatchers', and 'Invaders from Mars'.

Charlie Sheen is credible enough as the hectic hero, as is Ron Silver in another villainous role. But as in most futuristic fantasies the visual and makeup effect is the real draw card here. After years of churning out creatures of all shapes and sizes they still surprise with some unique creations.

The story is well-paced with every situation and special effect complementing the action (watch for the funky rotating-vacuum-ball). Lets' hope David Twohy sticks to this genre for awhile longer.

QUOTES: Giordan: 'If you can't tend to your own planet none of you deserve to live here.'

55. DARKMAN (action, 1990) Dr. Westlake (Liam Neeson) and his partner are on the verge of creating synthetic skin. But they're unable to decipher why the new skin breaks up under light, yet retain its form in the dark. Suddenly a group of would-be thiefs kill his partner and destroy his lab. He miraculously survives and is brought back to life by a radical medical procedure. Tortured by bouts of physical and psychological pain, he reconstructs his old lab and is able to use his new found technology to find the men who destroyed his life.

Critique: Ferocious cartoon/action film of what may well have been a lame attempt to integrate the two considering its many writers. Creator Sam Raimi finally showed the promise of his infamous 'Evil Dead' series combining the sometimes convoluted plot (the product of no less than 6 writers) and the anarchic, splatter mix of fantasy, horror and intrigue.

Like Ash from his Evil Dead series, Raimi creates another original character in the Darkman. Both characters share strong personalities who are taken on a roller-coaster ride of madness and mayhem, psychosis and rebirth. They resurface as God-like comic book heroes for the ages. And what a wonderful and unique creation the Darkman is. Inhabiting his own unique, colorful universe. He fits snugly with other archetypal stalwarts of the field like the Punisher, Daredevil, and Spawn.

Under tons of makeup Liam Neeson is still able to elicit a dramatic performance, breathing life into his role with genuine pathos. The character wears his emotions literally ON his skin. Larry Drake is also memorable as the cigar cutting baddie. The operatic, grandiose score by Danny Elfman keeps things bumping along.

This is Sam Raimis' most subversive work to date. The films' success spawned a slew of merchandise and inferior sequels.

QUOTES: Dr. Westlake: 'I am everyone and no one. Everywhere and no where. Call me, Darkman!'