nutsy
Iscritto in data ott 2003
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Recensioni54
Valutazione di nutsy
I enjoyed Albert Pyun's "Nemesis" for its cheesy action and semi-complicated script. A lot of people complain about the "confusing" plot to the first film, which is probably why "Nemesis 2: Nebula" has a dumb as rocks plot with the same super-action to carry it through.
This one gives the name of the first movie's hero, Alex, to a bulked up super-female sent to the past to save the future. She is raised by a tribe in Africa. A good portion of the film only has dialogue in an African tongue without subtitles, which I liked because it made it seem somewhat authentic (how often do movies in this genre really try to do that?). It doesn't take long for the evil cyborgs to time travel back in time to find her and try to kill her.
Don't get me wrong, this is a piece of crap (not that the first one was anything great). There are subplots involving Africa's political unrest, treasure hunting, and tribal combat. The picture is very short on brains, so none of these things gets a very good treatment. The picture is basically a drawn out fight with some chases that boils down to muscle-babe vs. cyborg. It has its entertainment value, just don't expect quality, or anything of the first movie.
This one gives the name of the first movie's hero, Alex, to a bulked up super-female sent to the past to save the future. She is raised by a tribe in Africa. A good portion of the film only has dialogue in an African tongue without subtitles, which I liked because it made it seem somewhat authentic (how often do movies in this genre really try to do that?). It doesn't take long for the evil cyborgs to time travel back in time to find her and try to kill her.
Don't get me wrong, this is a piece of crap (not that the first one was anything great). There are subplots involving Africa's political unrest, treasure hunting, and tribal combat. The picture is very short on brains, so none of these things gets a very good treatment. The picture is basically a drawn out fight with some chases that boils down to muscle-babe vs. cyborg. It has its entertainment value, just don't expect quality, or anything of the first movie.
"You want bread? Then go f*ck a baker."
How's this for a setup? - William Friedkin, John Turturro, and Willem Dafoe, all together for one movie. What could go wrong? It stars William L. Petersen and has music by Wang Chung. This movie is the kind of mistake that could only happen in the 80s.
This is a movie almost bereft of dialogue and none of the characters get close-ups. Our hero is a secret service agent named Chance (how lame is that?) and he's played by a wooden William L. Petersen. He's a wild kinda guy. He likes to bungee jump off bridges and shoot Arab bombers. When his partner is killed (with only three days left until retirement) investigating a counterfeiter, Chance becomes obsessed with revenge. That plot has got to be one of the most overused in film history. According to Friedkin that's alright, because this film is based on a book by a former secret service agent and it accounts some of his real experiences. It does not, however, go an inch for making this movie interesting.
Some of the characters and their dilemmas could have been very intriguing if they'd actually been developed. The trouble is that, while there are other things going on, the only dialogue is that which refers to the plot, and that plot is a boring one. The great Willem Dafoe is Masters, the complicated artist who burns his paintings and provides the Los Angeles underworld with counterfeit money. He's ruthless, connected, attractive, but sadly underused. Debra Feuer is a woman who gets information for Chance in exchange for staying out of prison. They sleep together, he treats her like dirt, she wants out. She is, however, given little to say or do, and is tied down to one location for most of the film. Dafoe's girlfriend is also a character of some kind; it's hinted that she's playing him and has a lesbian relationship with a partner, but she almost never speaks and the audience never really gets to know her, so she might as well be an extra. Turturro's part is depressingly short: he's a baddie who Chance arrests, Dafoe puts an unsuccessful hit on, and pretends to turn stool pigeon in order to escape. This is all somehow connected, but with the way it's presented, you won't care.
Later in the film come shifting loyalties, the dilemma of Chance's new partner (Pankow), one genuinely cool twist (I'll let you be surprised), and, what you all came to see, the car chase! The thing is a welcomed breath of fresh air. The film finally gets on the move, the bullets start to fly freely, and, best of all, we get a break from the monotonous Wang Chung score. Friedkin compared the scene to Kafka, but I think of it more as a way to keep the audience awake. It's not like this chase rivals the famous one Friedkin already had to his name, but it is fun to watch.
If only that one fun car chase could make up for all that came before: a tacked on prologue, a slow, if informative lesson in counterfeiting, a bad score, and a complete lack of depth. It's sad to see these mistakes coming from a veteran director who made the only horror movie with a strong dramatic core. I went into this movie open minded and came out of it hating Friedkin. He tried to pick up on some of the grit of his Oscar Winner, not realizing that Petersen is no Gene Hackman and that 80s LA doesn't have half the character of 70s New York. If he'd changed cities his luck would have been a little better, but the real problem is the shallow script and the uninteresting direction.
Don't bother with this one, folks. If you want a good cop movie, there's THE FRENCH CONNECTION, for a good car chase there's that and THE BLUES BROTHERS. Even if you wanted a better Petersen movie, there's MANHUNTER (and that's it). This movie is an uneven, poorly assembled screw up that you shouldn't seek for entertainment.
How's this for a setup? - William Friedkin, John Turturro, and Willem Dafoe, all together for one movie. What could go wrong? It stars William L. Petersen and has music by Wang Chung. This movie is the kind of mistake that could only happen in the 80s.
This is a movie almost bereft of dialogue and none of the characters get close-ups. Our hero is a secret service agent named Chance (how lame is that?) and he's played by a wooden William L. Petersen. He's a wild kinda guy. He likes to bungee jump off bridges and shoot Arab bombers. When his partner is killed (with only three days left until retirement) investigating a counterfeiter, Chance becomes obsessed with revenge. That plot has got to be one of the most overused in film history. According to Friedkin that's alright, because this film is based on a book by a former secret service agent and it accounts some of his real experiences. It does not, however, go an inch for making this movie interesting.
Some of the characters and their dilemmas could have been very intriguing if they'd actually been developed. The trouble is that, while there are other things going on, the only dialogue is that which refers to the plot, and that plot is a boring one. The great Willem Dafoe is Masters, the complicated artist who burns his paintings and provides the Los Angeles underworld with counterfeit money. He's ruthless, connected, attractive, but sadly underused. Debra Feuer is a woman who gets information for Chance in exchange for staying out of prison. They sleep together, he treats her like dirt, she wants out. She is, however, given little to say or do, and is tied down to one location for most of the film. Dafoe's girlfriend is also a character of some kind; it's hinted that she's playing him and has a lesbian relationship with a partner, but she almost never speaks and the audience never really gets to know her, so she might as well be an extra. Turturro's part is depressingly short: he's a baddie who Chance arrests, Dafoe puts an unsuccessful hit on, and pretends to turn stool pigeon in order to escape. This is all somehow connected, but with the way it's presented, you won't care.
Later in the film come shifting loyalties, the dilemma of Chance's new partner (Pankow), one genuinely cool twist (I'll let you be surprised), and, what you all came to see, the car chase! The thing is a welcomed breath of fresh air. The film finally gets on the move, the bullets start to fly freely, and, best of all, we get a break from the monotonous Wang Chung score. Friedkin compared the scene to Kafka, but I think of it more as a way to keep the audience awake. It's not like this chase rivals the famous one Friedkin already had to his name, but it is fun to watch.
If only that one fun car chase could make up for all that came before: a tacked on prologue, a slow, if informative lesson in counterfeiting, a bad score, and a complete lack of depth. It's sad to see these mistakes coming from a veteran director who made the only horror movie with a strong dramatic core. I went into this movie open minded and came out of it hating Friedkin. He tried to pick up on some of the grit of his Oscar Winner, not realizing that Petersen is no Gene Hackman and that 80s LA doesn't have half the character of 70s New York. If he'd changed cities his luck would have been a little better, but the real problem is the shallow script and the uninteresting direction.
Don't bother with this one, folks. If you want a good cop movie, there's THE FRENCH CONNECTION, for a good car chase there's that and THE BLUES BROTHERS. Even if you wanted a better Petersen movie, there's MANHUNTER (and that's it). This movie is an uneven, poorly assembled screw up that you shouldn't seek for entertainment.
Lonely guy meets dancing babe who may or may not be a killer. There's the short of this bad made-for-TV flick. Back around 1998 I started a long TV-movie kick. None of these movies were actually good by real movie standards (limited acting, story, direction, artistry, technical skill etc.), but I got good feel for them. DANCING WITH DANGER was one of the movies I saw while on this particular train of viewings. It's bad, folks, really bad and that's when compared to other TV movies, which are inferior to real movies in almost every way.
What DANCING WITH DANGER is trying for is a noir feel. You get the old-fashioned music, the 40s style location, and the lady in red. This could have been a great idea if the writer and director could have put their heads together to do something instead of just having the idea. It proves even worse to have a fake style than to have none at all.
There are some truly pathetic scenes. In one scene, drama is attempted when our hero visits his ex-wife and asks her to dance with him (I'm being nice by even calling this an attempt at drama). The suspense is weak, but, like I said, this is a TV movie. The conclusion makes you sorry you bothered to watch the movie. In short: avoid.
What DANCING WITH DANGER is trying for is a noir feel. You get the old-fashioned music, the 40s style location, and the lady in red. This could have been a great idea if the writer and director could have put their heads together to do something instead of just having the idea. It proves even worse to have a fake style than to have none at all.
There are some truly pathetic scenes. In one scene, drama is attempted when our hero visits his ex-wife and asks her to dance with him (I'm being nice by even calling this an attempt at drama). The suspense is weak, but, like I said, this is a TV movie. The conclusion makes you sorry you bothered to watch the movie. In short: avoid.