Blue Ice

Straining desperately to recreate the atmosphere of the Harry Palmer films of the 1960s, Blue Ice even includes a surreal but dreadful torture scene. It would have been fine if not for a predictable plot and a script which at times is simply terrible - a police interrogation scene begins with the line: `For the last time, who are you working for?' Plus sides: Sean Young's bottom makes another screen appearance (nudity being about the only memorable aspect she brings to any of her roles) and there's a moderately exciting denouement on the docks.

Yes, it's a British action film and Sir Michael is rather too old and although he's a big man etc etc (see "Get Carter") to credibly do "action" in all its established forms including deeply impress hot chick (Sean Young) which by custom he is supposed to do. Reaction to it seems to be generous condemnation from domestic reviewers and moderate enjoyment elsewhere.

The film itself rather resembles its own torture scene - a series of flash-backs but in this case of a dozen and more earlier movies some of which starred Caine or Bob Hoskins (one with the torture scene starred Dick Powell). That is a mixed blessing - on the down side it has all been done and seen before, some as has been noted, in British budget made-for-TV series - themselves lifted and downsized from big screen originals. This though is where all resemblances to the likes of "The Sweeney" and "The Professionals" ends.

Here there's stars a-plenty, and a good British cast. Added to which is the lovely cinematography particularly of Soho night exteriors. Caine and Hoskins are inescapably stars and watchable whatever they do, this time they reprise some of their famous roles - Hoskins his star turn in "Long Good Friday." Caine "The Ipcress File and "Get Carter". Even Alun Armstrong gets it a second time doing a Caine a favour - thought he might have learnt by now. But audiences had left cinemas wanting more and here we have more. And no bad thing at all. Oh, one other thing, Harry Palmer didn't smile, Caine here does too much. Perhaps he was having too much fun and lacked a director willing to tell him. Remember what Roman Polanski is said to have said on the subject.

Clearly intended to be an update to the Harry Palmer successes of the 60's right down to the character's stiff upper lip/questionable ethics superior, love of jazz, reluctant spy scenario, and same first name. Obviously, copyright required a change to last name, otherwise, this is a Harry Palmer movie.

Far from the quality of Ipcress File and Funeral in Berlin, but superior story and plot compared to the subsequent Russian/Quebec produced "official Palmer movies".

Caine turns in another solid performance, but potential of film limited to script gaps. Highlights would be scenes between Caine and Hoskins that are far superior to rest of film. Sean Young hopelessly miscast, so what else is new, and there is no chemistry between her and Caine.

Here's another film that one might label a neo-noir. It's film noir in story, attitude and camera-work but it's color and it's a 1992 film, not one from the late 1940s or early '50s.

The story is set in England and is a good mixture of suspense, action and romance. It's nicely filmed with a lot of night shots featuring some cool neon signs of London streets and pubs. Looks-wise, this film reminded me a lot of "Stormy Monday."

There is some good jazz in here, too. The action picks up much more in the second half of the film, capped off by a unique huge transformer-like vehicle chasing Michael Caine. The ending was a bit weak and hokey but overall, the film was entertaining and good stuff if you're a noir buff.

I was recently on a Russell Mulcahy kick and decided to view his second hard to find direct to video film BLUE ICE after being pleasantly surprised by SILENT TRIGGER with Dolph Lundgren. BLUE ICE has a very engaging storyline but ultimately falls short in the ending. Michael Caine plays ex-British operative Harry Anders unexpectedly and unofficially brought back into action after a traffic accident with mysterious beauty Stacy (Sean Young). A mutual attraction leads Harry to do Stacy a seemingly small favor involving Stacy's ex boyfriend. What follows is a intricately weaved scheme involving arms dealing and some very high ranking "w******". Caine is excellent as the lead character and reminded me of Roger Moore in his heyday as Bond. Sultry and convincing, Sean Young definitely heats up the screen. Look for a good but shortlived cameo by Bob Hoskins. Russell Mulcahy once again puts some effective visuals onto the screen including a hyper intense torture/interrogation sequence and effective lighting.

However, the time it took to create such an effective story and relationship between the two leads is wasted with a conclusion that emphasizes what Michael Caine is not: an action hero. Although the fight scenes in Harry's bar were forgivable, Michael Caine running around with a gun (albeit a cool gun) in the final showdown just struck me as awkward. The action also was a unnecessary reminder that the film was done on a low budget...a very low budget. Yet another film that came into fruition with a strong story and performances but would ultimately run out of steam with uninspired and unspectacular action. Of course Mr. Mulcahy would come back in fine form later with direct to video films SILENT TRIGGER, TALOS THE MUMMY, and RESURRECTION.