Babylon A.D. Review

Diesel fails to establish any sort of connection to the audience, so much so that at times we want him to fail, if only in hopes to spice up his extremely bland mission. The girl in question, the damsel in distress if you will, is Aurora, a very young (and strangely pretty) woman with either a very advanced form of dementia, or maybe just crazy. It’s partially explained that she has some sort of mental powers, the ability to operate a decades-old Russian submarine for example, but we never get a full story on this and it comes across as more of an annoying, naïve little girl than a supernatural vixen.

The third act plays very much like any one of the Saw sequels: it’s the last 20 minutes where we are revealed how everything happened in long, sprawling monologs set to quick-cut flashbacks. And much like the Saw sequels, none of this makes any sense – secondary characters do idiotic things for little or no reason, some main characters die, followed by an ending scene that completely destroys any faith one had in the last 80 minutes. Characters are introduced in the third act simply to attempt to make sense of all that has happened, some main characters are dropped because they have served their purpose, and one character that has only been seen or mentioned in snippets throughout the film turns out to be someone extremely important to the finale.

Filmmaker Mathieu Kassovitz recently came out to the Internet to try to explain that this atrocity is due to studio interference, and not to a sub-par script and terrible performances.  If anything, the apparent Fox meddling helps the movie a bit – the presumably forced action sequences shortly pull you back into the story, but it’s not long before the flaws of Kassovitz’s screenplay comes roaring back to life. But when a movie is in such a state that the director publicly denounces it, you know you’re in for an extremely forgettable, and laughingly bad, motion picture event. If nothing else, Babylon A.D. delivers on that front.

The rating is prepared in accordance with professional essay on this movie: 1 ½ / 5 stars

John Wayne’s “The Searchers”

A Recognized Movie Classic

In 1956, when The Searchers was first released, nobody knew that it would today be a widely-hailed classic movie. Nowadays, it’s especially noted as one of the greatest Westerns of all-time. Starring John Wayne, Jeffrey Hunter, Vera Miles and a young Natalie Wood, among others, it was one of the first in the cowboy genre to examine issues of racism in the old West; especially that practiced against Native American tribes. Directed by John Ford, it was the 12th movie he and Wayne made together

The Searchers, filmed using the Vista Vision process and with bold colors and beautiful scenery (especially of Monument Valley, Utah, which filled in for the famous Llano Estacado region in the Southwest), is also a favorite of many of today’s most famous writers and directors. Steven Spielberg ranks it as one of his all-time classic movies, and for good reason. It’s broad outlines were later used to great effect in the Star Wars franchise, and in Martin Scorsese’s Taxi Driver, to use a couple of examples.

Playing the part of Confederate Civil War veteran Ethan Edwards, John Wayne delivered a portrait unlike any he’d created previously. Haunted by hatred and violence, Wayne’s Ethan demonstrates over the course of a five year span how truly debilitating racism and hatred can be if allowed to go unchecked. His portrayal, in fact, is now regarded as one of the finest in a decades-long career. Aided throughout the movie by a young half-Cherokee friend of his brother’s slain family (Jeffrey Hunter), the film centers on the long search for his young niece, who’d been kidnapped in the same Cherokee raid that saw Ethan’s brother, sister-in-law and nephew killed. Hunter’s character himself has to contend with the latent racism evidenced by Ethan on occasion, and also on the woman whom he left behind during the years-long search (played by Vera Miles).

Near the end of the film, we’re not sure if Ethan means to kill his niece for the sin of having lived among the Cherokee, and being “taken” in marriage to the band’s leader, or to bring her back to safety. The satisfying conclusion, though, shows that redemption is possible, even for someone as conflicted by racial hatred as Ethan Edwards.

In its day, nobody thought The Searchers would rank among the best Westerns ever, but its grand scope and cinematography, combined with Ford’s masterful direction and the power of its themes, have all conspired to place it in lofty company. Additionally, John Wayne’s portrayal of a tortured and haunted Ethan Edwards, makes this a definite movie classic.

John Wayne’s “Stagecoach”

Filmed in black-and-white, 1939’s Stagecoach began a decades-long collaboration between classic movie star John Wayne and his most loyal director, John Ford. The fact that it’s also the film that catapulted John Wayne to true stardom is an even better reason to like it. What’s also interesting is that his portrayal of The Ringo Kid is recognized by critics as moving the typical Western hero from a person who basically wore a white hat, so to speak, and without ulterior motive, to somebody who was more complicated and multidimensional. Also starring Claire Trevor as a frowned-upon woman of so-called loose morals, and Thomas Mitchell as a drunken doctor of no real courage, director Ford’s examination of true motives and complicated behaviors among several members traveling on a stagecoach going through the Indian Territories set a pattern of realism for more than a few Westerns that followed over the years. It’s worth noting that Mitchell also won a well-deserved Best Supporting Actor Oscar for his effort.

Stagecoach brought about a new era of Westerns to emerge from Hollywood, and many of the spaghetti Westerns of the 1960s have a direct lineage back to this one film.

A veteran of dozens of B-movies by that time, John Wayne took The Ringo Kid, who was a man of ready violence, if need be, and used him to show how someone who might’ve been not-too-pure in the past, could make himself capable of good works in the defense of those weaker than himself. Also, Claire Trevor’s run-out-of-town saloon girl proved she was more than equal to the rigors of stagecoach travel, and in dealing with bands of marauding Indians and raiders. Though she’d been beaten down a bit by life, she demonstrated a ready willingness to stand up when it counted. And also to love, when it mattered.

Many critics contend that this now-classic movie was the first really adult oriented Western to come out of the cowboy movie factories of old Hollywood.

This is due in part to Ford’s examination of societal mores, and also in the way in which complex relationships between members of the stagecoach traveling party were laid out. Particularly in the case of the alcoholic doctor, memorably played by Mitchell, one can see Ford’s continuing fascination with redemption and episodic feats of courage. Additionally, the crisp cinematography and the film’s use of light and shadow to depict deep emotions make for an experience which made this John Wayne vehicle a movie that was hard-hitting for its time, and beloved among classic movies in the here and now.

“His Girl Friday” Delivers Any Day of the Week

A Movie Classic Starring Cary Grant and Rosalind Russell

“His Girl Friday” is a classic movie filmed in the 1940, that at heart is really an examination of the relationship between professionals who at one time were married — but still remain a boss-and-employee pair — we find both Cary Grant and Rosalind Russell giving virtuoso performances. Directed by Howard Hawks, “His Girl Friday,” is the story of Hildy Johnson (played to fierce effect by Russell) and Walter Burns, whose hysterical determination to prevent the remarriage of his former wife and long-time ace reporter, is depicted masterfully in an Oscar-worthy performance by the normally ultra-cool and ultra-suave Cary Grant.

His Girl Friday is one of a number of movies that can trace their roots back to The Front Page, a 1928 stage by Ben Hecht and Charles MacArthur. Most went on to become movie classics in their own right (and some didn’t, of course) because of the basic comedic themes running throughout the basic plot.

In His Girl Friday, the comedy centers around the efforts undertaken by hard-driving newspaper editor Walter Burns to prevent his best reporter (and ex-wife, coincidentally) from getting remarried. Burns, at first, isn’t so much against the idea of Rosalind Russell’s Hildy Johnson remarrying because he believes he still harbors any romantic feelings himself for her; instead, he’s just selfish. Selfish because he wants to ensure Hildy’s continued presence at his paper, considering she’s the best reporter around, and her writing sells lots of newspapers. In announcing her engagement, she tells Burns of her plans to leave the paper to move to Albany with her soon-to-be husband. Cary Grant’s Walter character uses every gag in the book to keep her from leaving, including tricking her into taking one, final assignment; getting a jailhouse interview with a quaking little nerd of a prisoner who’d been convicted of killing a cop and is soon to be executed for his deed. Great performances abound, including the ensemble cast assembled to play various fellow reporters, and also the hapless prisoner himself (John Qualen). As far as classic movies go, this is one of the best.

The rapid fire speech patterns and clipped tones used by the actors evoke perfectly how we think people back in those days talked to one another, and the camera work, which ably spread the focus among the primary and secondary members of the cast to great effect, is top-notch. One can’t help but laugh endlessly at the zany, breakneck speed with which Grant and Russell play off each other, and the ending is as satisfying as it is expected. Critics widely hail His Girl Friday as one of the best dialogue-driven comedies of all time, and it’s well-worth the price of a purchase or rental.

Jimmy Stewart’s “Rear Window”

An Essential and Stylish Movie Classic

Made in 1954, director Alfred Hitchcock’s Rear Window, starring Jimmy Stewart and the always beautiful Grace Kelly, set the standard for classic movie thrillers for decades to come. In fact its voyeur-who-witnesses-a-murder-and-isn’t-believed theme is an essential part of any movie that seeks to encourage a bit of paranoia and suspense. Alfred Hitchcock himself relied upon this premise in several other movies of his over the years, to great effect.

The film opens with Jimmy Stewart’s photographer character, Jeff Jeffries, bound to a wheelchair, convalescing after an accident. Actually more of a professional voyeur, he spends the day observing the comings-and-goings of the neighbors in his apartment building. The films darkens quickly enough, after he observes what he thinks may have been a murder. It’s at this point that Jeffries has a very hard, if not at first impossible, time convincing his girlfriend Lisa — effectively played by Grace Kelly – and others that the upstanding citizen across the way may not be as harmless and nice as he seems.

A lot of critics, including this one, feel that the murder that Stewart’s character may or may not have witnessed is nothing more than what’s called a “MacGuffin.” That is, it’s a pretext with which to give motivation to certain characters to make them do what they need to do in the movie. This makes sense, because Rear Window forces us to examine Jeffries, Lisa, and the possible murderer (Raymond Burr), and how they react to what’s going on around them; their interrelationships and the emotions which play across their faces, at times. The possibility of murder itself, cold as it may seem, is just something that’s used to get these characters going in the directions they need to. We especially find ourselves interested in examining how Jimmy Stewart, in the role of voyeur or sentinel, reacts to his situation, hobbled as he is by his confinement to a wheelchair. And that’s the genius behind this film, for only a truly masterful actor (which Stewart was) could be convincing enough to make the average movie audience of the time care more about him than about a person who may have been killed.

Honored as one the 100 best movies of all time, Rear Window set the standard for the classic movie thriller. Its cinematography and skillful use of camera work by Hitchcock, who propels you into the feelings of the main characters as effortlessly as a river of water flows downstream, will keep you riveted to your chair. If you get a chance, rent it or buy one of the re-mastered DVDs available for sale.

“Metropolis”: A Film Teeming With Symbolism

In 1927, there was a critical examination going on among intellectuals and filmmakers that looked at the relationship between working classes and the people who were felt to control the so-called “means of production.”

Communist theory of the day used that relationship to great effect, and it was genuinely believed among many people who may not have even had any sympathy for the idea of Communism that a growing tension between workers and rulers — the owners of the means of production — was destined to culminate in a final and possibly fatal struggle between the two for supremacy. Director Fritz Lang’s cinematic exploration of this theme, 1927’s Metropolis, is arguably one of the most groundbreaking silent movies of its time, and it took seriously its mission to critically examine one of the most important issues existing in that era. That it’s also one of the best science fiction movie classics of all time, with special effects still worthy of complement, is a side benefit that’s greatly appreciated among true movie aficionados even to this day.

The movie itself takes place in the year 2027 in the fictional city-state of Metropolis, which is designed and ran for the benefit of the corporate ruling elite, who are the “thinkers” (they don’t know how anything works, really, but they have all the beneficial ideas that eventually lead to the manufacture of things by other classes). Because thinkers live above ground, high up, the maintenance and upkeep of Metropolis falls onto the shoulders of the underground-dwelling working class, called “workers,” or “hands” (thinkers are also called “heads”). While a science fiction movie (for all intents and purposes) on the surface, Fritz Lang ably explores the issues of class and societal division so masterfully, one will walk away from this movie wondering at how we still have issues very similar to what he examined in 1927, today. Lang’s movie, though, is ultimately hopeful, even amidst the struggle between the thinkers and the workers for control of Metropolis. And his resolution, which at least in the movie solves the problem of inequality between social classes, can’t be anything but pleasing. Metropolis also skillfully makes use of prophetic vision in its central theme that there will be a “One,” or so-called “savior” who unites the classes at some point in the future. Most memorably, the recent Matrix franchise employed an idea of “The One,” and it drew some of its inspiration from Lang’s 1927 cinematic effort.

Both a science fiction masterpiece and a classic movie in any genre, Metropolis adeptly tells its story of urban stress — and how people are eventually negatively affected by it — in a way that discretely insinuates its exploration of class struggle, and also a prophetic vision usually found only in biblical or fantastical literature, without a moviegoer even realizing it’s been done. Truly a four-star effort.

“Forbidden Planet” Starring Walter Pidgeon

One of the Best Science Fiction Movies Ever Made

Forbidden Planet, one of the best classic movies of the science fiction genre, is a film made in 1956 that pays direct homage to William Shakespeare’s The Tempest. Starring Walter Pidgeon as Doctor Morbius (the Prospero character in Tempest) and Anne Francis as his daughter, Planet examines how a paradise-like existence on the distant planet Altair-4 may not be all that it appears. That this is so is amply demonstrated by the arrival of a spaceship, captained by a youngish Leslie Neilsen, and what happens when he and his crew are injected into the mix. The movie is also famous for its introduction of Robby the Robot into our popular culture. The robot in Lost in Space is a direct descendant of the Robby archetype, as are many of the space crew portrayals in later science fiction movies and television productions like Star Trek and Babylon Five.

Anne Francis, who plays Altaira, the lovely young daughter of Morbius, gives a nuanced performance, especially after the arrival of Neilsen and his spaceship, which had been sent out in search of the crew that had previously gone to Altair-4.

Of that crew, only Altaira and her father remained, the others having been killed off by an unseen force surrounding the planet. Robby fills the role of loyal servant, who also may be more than is apparent at first blush. While Forbidden Planet uses science fiction as its motive force, it’s clear that it serves as a convenient device with which to examine the issues that underpin the film’s broader narrative. What happened to the race of beings that previously lived on Altair-4? What exactly was the force binding Walter Pidgeon’s Morbius and his daughter to the planet? Does the doctor know more than he lets on, and will he (or the mysterious force) tolerate Nielsen’s courtship of his daughter, who’d never seen another man prior to the arrival of the latest spaceship?

The 50s were a time of anxiety over nuclear power, and our presence in the cosmos. Roswell and UFOs also served to turn up the level of concern over science and its role in the world. But that same concern was also mixed with wonder and a desire to explore, and the movie reflected that. Planet also set cinematic standards for special effects – which still look impressive even today – and for musical scoring, it being the first to entirely use electronic sounds to create a movie score. All in all, when speaking of a science fiction movie classic, Forbidden Planet receives four stars.