Thursday, February 28, 2013

"EVIL UNDER THE SUN" (2001) Screencaps Gallery

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Below are images from "EVIL UNDER THE SUN", the 2001 adaptation of Agatha Christie's 1941 novel. The movie starred David Suchet as Hercule Poirot: 



"EVIL UNDER THE SUN" (2001) Screencaps Gallery

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Tuesday, February 26, 2013

"DJANGO UNCHAINED" (2012) Review




"DJANGO UNCHAINED" (2012) Review

Over three years following the release of his 2009 movie, "INGLORIOUS BASTERDS", Quentin Tarantino courted success and controversy with a new tale set the past. Called "DJANGO UNCHAINED", this new movie combined the elements of the Old West and Old South and told the story about a recently freed slave-turned-bounty hunter in search of his still enslaved wife. 

The movie begins with a gang of male slaves being transported across Texas by a group of slavers called the Speck brothers. The group encounter Dr. King Schultz, a German-born dentist, who also happens to be a bounty hunter. Schultz offers to purchase Django, whom he believes can identify a trio of murderous siblings called the Brittle brothers, who had worked as overseers for Django's previous owner. The Specks become hostile and Schultz kills one of the brothers. He then frees Django and leaves the wounded brother behind to be killed by the newly freed slaves. Django and Schultz come to an agreement in which the latter will give the former freedom, a horse and $75 for helping him identify the Brittle brothers. Once the pair achieve their goal at a Tennessee plantation owned by one Spencer "Big Daddy" Bennett, Schultz takes on Django as his associate and over the winter, collect a number of bounties. In the following spring, Schultz offers to help Django track down the latter's wife, Broomhilda von Shaft. They discover that she is owned by a brutal, yet charming Mississippi planter named Calvin Candie. The pair realize that in order to rescue Broomhilda, they would have to pose as potential buyers of a fighter slave in order to secure an invitation at Candie's plantation called Candyland.

Even before its initial release in movie theaters in late December, "DJANGO UNCHAINED" managed to attract a good deal of controversy. Producer/director Spike Lee declared the movie as an insult to his ancestors in a magazine article and his refusal to see it. Others have criticized the film for its violence and its use of the word "nigger". And some have criticized the movie for historical inaccuracy. They claimed that the practice of fighting Mandingo slaves never existed and that Tarantino depicted the Klu Klux Klan a decade before its actual existence. And Jeff Kuhner of The Washington Times complained that: "Anti-white bigotry has become embedded in our postmodern culture. Take Django Unchained. The movie boils down to one central theme: the white man as devil — a moral scourge who must be eradicated like a lethal virus."

Mind you, I have my own complaints about "DJANGO UNCHAINED". Actually, I have three complaints. One, I found the movie's chronological setting rather confusing. According to the movie's opening, it began in "1858 - Two years before the Civil War". Judging by the weather, Django's first meeting with Schultz in Texas occurred in the fall. Which probably means that the movie began two-and-a-half years before the Civil War, not two years. Yes, I am being anal about this. However, Django and Schultz accompanied Candie to Candyland in early May 1858 . . . at least according to a scene that featured Candie's head slave Stephen writing out a check for supplies. It is quite obvious that Tarantino got his time frame a little off. Was "DJANGO UNCHAINED" set between the fall of 1858 and the spring of 1859? Or was it set between the fall of 1857 and the spring of 1858? Only Tarantino cananswer this. I also found the character of Broomhilda von Shaft slightly underdeveloped. Some have claimed that her character is passive. I would disagree, considering she was introduced being punished for attempting to run away from Candyland. But aside from a scene or two, I feel that Tarantino could have done a little more with her character. And three, I have mixed feelings about Tarantino's use of flashbacks in this movie. Some of the flashbacks were well utilized - including those featuring Django's memories of Broomhilda being whipped and branded as a runaway, Schultz's trauma over witnessing the mutilation of a Candie slave named D'Artagnan, and Big Daddy organizing a group of night riders to attack Django and Schultz. But some of the flashbacks seemed to go by so fast that I found their addition to the film unnecessary.

As for the other complaints about the movie, I do have a response. Spike Lee is entitled to his decision not to see the movie. However, I do find his willingness to condemn the movie without seeing it rather strange. Criticism of Tarantino's use of violence in his movies have become repetitive in my eyes. "DJANGO UNCHAINED" is a Quentin Tarantino movie. Can someone name one of his movies that did not feature any violence? Because I cannot. And his recent films do not strike me as violent as earlier films such as 1993's "RESERVOIR DOGS". Also, violence has played a part in many slave societies throughout history . . . including U.S. slavery. Yes, the Ku Klux Klan was first organized in the late 1860s, after the Civil War. But the Klan's origins came from patrol riders, who were recruited by planters in many Southern states to maintain vigilance of both slaves and free black in local rural neighborhoods. So, the idea of "Big Daddy" Bennett organizing a group of local riders to attack Django and Schultz is not implausible. 

In response to Jeff Kuhner's accusation of anti-white bigotry, Tarantino not only created the German-born Schultz, who helped Django attain freedom and find Broomhilda; but also a Western sheriff portrayed by television veteran Lee Horsley ("MATT HOUSTON" anyone?), who seemed very friendly to both the German immigrant and the former slave. Tarantino also created Candyland's head house slave, Stephen, who proved to be one of the film's worst villains. So much for Kuhner's accusation. A great deal of "DJANGO UNCHAINED" is set in the pre-Civil War South and its topic happens to be about American slavery. The use of "nigger" is historically accurate for the movie's setting. And I am surprised that no one has complained about the slur being used in Steven Spielberg's recent movie, "LINCOLN". Hell, the word is used throughout productions such as the two "ROOTS"miniseries, the three "NORTH AND SOUTH" miniseries, "QUEEN", the 1971 movie "SKIN GAME" and in a good number of other movie and television productions set in antebellum and Civil War America. Even the use of the slur in a production set in the 19th century North would be historically accurate. I also recall the use of racial slurs for whites in a few scenes. As for Tarantino's use of Mandingo fighting slaves in the movie . . . I have no explanation for its presence in this film. There is no historical evidence of this particular sport. And I suspect that Tarantino was simply inspired by the 1975 movie, "MANDINGO" and Kyle Onstott's 1957 novel upon which the latter was based.

So . . . how do I feel about "DJANGO UNCHAINED"? Frankly, I believe it is one of the best movies of 2012. And I also consider it to be another cinematic masterpiece by Quentin Tarantino. One of the aspects of "DJANGO UNCHAINED" was Tarantino's ability to take a rather dark topic like slavery and fashioned it into a explosive mixture of action, drama, suspense and some comedy. Many have complained that the movie should have been a straight drama, considering its topic. But I disagree. Yes, "DJANGO UNCHAINED" could have been an effective straight drama. But Tarantino decided to take a rare and unique route in unfolding his tale. And in doing so, he managed to fashioned a fascinating story that allowed me to experience an array of emotions that left me more than satisfied by the movie's last scene. 

"DJANGO UNCHAINED" was not the first time comedy was used to reveal one of the darkest episodes in this country's history. This has been done in "SKIN GAME" and in television shows such as "BEWITCHED" and the comedy sketch series, "KEY & PEELE". Tarantino used the same mixture of pathos, horror, drama and comedy for many of his past movies - especially in"INGLORIOUS BASTERDS". I found this use of humor especially effective in scenes that included the surviving Speck brother's attempt to convince the slaves freed by Schultz not to kill him. I never knew that James Russo, who portrayed the surviving Speck brother, could be so funny. Django and Schultz's little exchange regarding the former's identification of the Sprittle brothers struck me as funny. I could say the same about Stephen's reaction to Candie's treatment of Django as a house guest and Lara Lee Candie-Fitzwilly's (Candie's sister) futile attempts to attract Schultz's attention. But the funniest sequence has to be the flashback featuring "Big Daddy" Bennett's recruitment of night riders for an attack on Django and Schultz. In fact, that particular scene practically had me rolling with laughter. 

Some people have complained that "DJANGO UNCHAINED" is basically a revenge tale for African-Americans. I find this accusation rather odd, considering that Django's main objective was to find Broomhilda and get her out slavery by any means possible. And despite the movie's prevalent humor, Tarantino did not hold back in presenting not only the horrors and emotional traumas of slavery, but also racism. This was especially true in a handful of scenes in the movie. The opening scene featured an emotionally shell shocked Django being transported across Texas as part of a slave coffle. Other traumatic scenes include Candie's little speech on the inferiority of blacks, the erruption of violence at Candyland that resulted in Django hanging from a barn's roof, naked and bound and Stephen's maleovelent revelation of Django's fate as a slave for a Mississippi mining company. One horrifying scene that I found particularly brutal was a flashback featuring Broomhilda's brutal whipping at the hands of the Brittle brothers, while Django desperately tries to convince one of the brothers to spare her.

I really do not know what to say about the performances featured in the movie. I realize there are no Academy Award nominations for ensemble casts. If there were, I would nominate the cast of "DJANGO UNCHAINED". One, Tarantino cast old movie and television veterans in cameo roles. I have already mentioned Lee Horsley and James Russo. I also spotted the likes of Russ and Amber Tamblyn, Don Stroud, Tom Wopat, Cooper Huckabee, Robert Carradine, Michael Parks and a humorus special guest appearance by Franco Nero. Both Bruce Dern and M.C. Gainey (of "LOST") were especially scary in their brief appearances as Old Man Carrucan (Django and Broomhilda's former owner) and Big John Brittle. Both Dana Michelle Gourrier and Nichole Galicia gave solid performances as Cora and Sheba, Candie's housekeeper and concubine respectively. And Dennis Christopher's performance as Calvin Candie's obsequious attorney, Leonide Moguy, struck me as spot-on. 

Don Johnson provided a skillful combination of charm, menace and humor in his role as Spencer "Big Daddy" Bennett, the Tennessee planter who served as the Brittle brothers' current employer. Jonah Hill had a funny cameo as one of his night riders. I could say the same about Miriam F. Glover, who gave one of the movie's funniest lines, while portraying one of Big Daddy's house slaves. Ato Essandoh of A&E's "COPPER" was very effective as D'Artagnan, the frightened fighting slave whose runaway attempt led to his brutal death. Laura Cayouette's performance as Lara Lee Candie-Fitzwilly, Candie's widowed sister, struck me as effective. On one hand, I found her attempts to seduce Schultz rather funny. On the other hand, her outrage over Candie's attempt to display a naked Broomhilda during supper provided a great deal of tension in the scene. Walton Goggins gave a memorable and scary performance as one of Candie's henchmen, Billy Crash. James Remar got to portray two intimidating characters - Ace Speck and Candie's main henchman, Butch Pooch. And he did a damn good job with both roles. 

Although I had been critical of Tarantino's creation of the Broomhilda von Shaft, I must admit that Kerry Washington still managed to wring out a first-rate performance from the role. I especially impressed with her in scenes that featured Broomhilda's tense encounters with Stephen; and her subtle, yet pleased reaction to Schultz's purchase of her from Candie and her painful whipping by the Brittle brothers in one of the flashback. And I must admit that I found that last shot of her removing a shotgun from her saddle rather interesting. Perhaps after all that Broomhilda had endured, she was not taking any chances. I believe that the year 2012 will prove to be one of Samuel L. Jackson's best years professionally. Aside from portraying Nick Fury in the year's biggest hit, "THE AVENGERS"; he got to portray one of the most complex and villainous roles in "DJANGO UNCHAINED" as Candie's trusted and malevolent head house slave, Stephen. Watching the movie, I was struck at how much Stephen reminded me of the Mr. Carson character from the British television series, "DOWNTON ABBEY". Both characters possessed the same blinding loyalty, snobbery, jealousy over his position within the slave hierarchy, and anger toward anyone from their background who managed to rise higher than they (for example: Django). Jackson did a superb job in not only conveying Stephen's penchant for utilizing the old "Puttin' on Old Massa" routine publicly, but also his intelligence while in the private company of Django, Broomhilda or Candie. And by the way, the man has a nice singing voice. Many people have expressed surprise at Leonardo Di Caprio's portryal of the villanous, yet charsmatic Calvin Candie. I was not that surprised, considering I have seen him portray a villain before - as the cold-blooded Louis XIV in 1998's "THE MAN IN THE IRON MASK". But I do believe that Candie not only proved to be a more memorable villain, but also one of the actor's best roles ever. He was fantastic as the charming, yet brutal Candie . . . and at the same time rather contradictory. It was obvious that Di Caprio's Candie fervently believed in the superiority of whites; yet at the same time, he had no problems with allowing Stephen to handle the plantation's finances or accepting the elderly slave's intelligence and sharp observations about Django, Schultz and Broomhilda with very little reluctance.

Instead of portraying a villain, Christoph Waltz portrayed Django's friendly, yet ruthless mentor and partner; the German-born dentist-turned-bounty hunter, Dr. King Schultz. And he was fantastic. Waltz effectively portrayed Schultz's cold-blooded pursuit of wanted criminals for profit, yet at the same time; conveyed the character's disgust over the institution of slavery and open-mindedness toward Django, Broomhilda and other slaves. Waltz's best moments proved to be Schultz's encounter with the Speck brothers and Django in Texas, his taking down of the wanted Sheriff Bill Sharp (portrayed by Don Stroud), his reaction to D'Artagnan's mauling and the revelation of his disgust toward Candie. And Waltz proved to have great screen chemistry with Jamie Foxx. I believe that the latter's portrayal of the title character has proven to be vastly underrated by the majority of film critics and some moviegoers. I am a little disappointed, but not surprised. Django turned out to be a somewhat introverted character that was not inclined to speak very much . . . whether as a slave or a free man. Critics and filmgoers are not inclined to pay much attention to non-showy characters. Since Django proved to be a quiet character, Foxx resorted to good old-fashioned screen acting to convey most of the character's non-speaking moments. And he did a superb job in portraying Django's array of emotions - especially in the opening scene featuring the slave coffle in Texas, Schultz's killing of the criminal, his first view of Broomhilda at Candyland, and the confrontation with Candie during the latter's supper party. Ironically, another one of Foxx's best moments proved to be quite verbal in which he attempts to con a group of slavers for a mining company to take him back to Candyland in order to collect on a fake bounty. In the end, Foxx did a superb job in developing Django from a slave in shock over the traumatized separation from his wife to the soft-spoken, yet self-assured man who could be very ruthless when the situation demanded it.

I also have to say a word about the movie's behind-the-scene production. I was impressed by Sharen Davis' costume designs. She did a solid job in re-creating the fashions of the late antebellum period. However, I noticed a few oddball designs for Candie's slave mistress Sheba and a maid at a social club in Greenville, Mississippi; reflecting the planter's penchant for anything French. I suspect this was a visual joke on Tarantino's part. I was also impressed by J. Michael Riva's production designs and Leslie A. Pope's set decorations in the sequences for the Texas town featured in the movie's first 10 to 20 minutes, Candie's Napoleon Club in Greenville and especially the interiors for Candyland's mansion. Robert Richardson did an excellent in capturing the beauty of California, Louisiana and especially Wyoming with his photography. As he had done for "INGLORIOUS BASTERDS", Tarantino used already recorded music to serve as the score for his movie. I did notice that a few songs - especially one for the opening title sequence - seemed to have been written specifically for the movie. However, I do not know who may have written them.

It occurred to me that "DJANGO UNCHAINED" was Tarantino's second period piece in a row. And I found myself wondering if he planned to write and direct a third period movie as part of some kind of semi-historical trilogy. Whether he does or not, I must say that I was impressed with "DJANGO UNCHAINED". More than impressed. I believe it is one of the best movies I have seen released in 2012. And I feel that it is one of the writer-director's more original works, due to superb writing, direction and an excellent cast led by Jamie Foxx and Christoph Waltz.



P.S.  Check out this photo:





Ohmigod!  It's Crockett and Tubbs!

Monday, February 25, 2013

The Major Problems of “HEAVEN AND HELL: NORTH AND SOUTH BOOK III” (1994)




The Major Problems of “HEAVEN AND HELL: NORTH AND SOUTH BOOK III” (1994)

Any fan of the John Jakes’ NORTH AND SOUTH trilogy would be more than happy to tell you that the worst entry in the author’s saga about two American families in the mid 19th century was the last one, ”HEAVEN AND HELL: North and South Book III”. Those fans would be speaking of the 1994 television adaptation, not the novel itself. Unlike many of these fans, I do not share their low opinion of the three-part miniseries. But I will not deny that ”HEAVEN AND HELL” had its share of problems. Below is a list of I consider to be its major flaws.

*Use of Montages - The miniseries did not hesitate to use montages to indicate a passage of time. Most of these montages centered on the Charles Main character, portrayed by Kyle Chandler. The problem with these montages was that they had exposed a blooper regarding Charles’ rank with the post-war U.S. Army in the first episode.

During a montage that featured Charles’ early courtship of actress Willa Parker (Rya Kihlstedt), Charles either wore corporal or sergeant stripes on his jacket. It went like this – Charles first wore corporal stripes, a fringe jacket and then sergeant stripes. And after the montage, Charles wore corporal stripes again.


*Orry and Madeline Main’s Presence in Richmond - BOOK II ended with Orry and Madeline Main (Patrick Swayze and Lesley Anne Down) attending the funeral of family matriarch, Clarissa Main. However, ”HEAVEN AND HELL” began with Orry and Madeline staying at a friend’s home in Richmond, in order to raise funds to feed the defeated post-war South. What in the hell for? The pair had a burnt home, an estate and family to care. They had no form of income or cash. And yet, they left their devastated home to raise funds for a cause that would have been implausible for them to achieve.

I realize that screenwriters Suzanne Clauser and John Jakes wanted an excuse to get Orry in Richmond so that he would be murdered by his old nemesis, Elkhannah Bent (Philip Casnoff). This could have been achieved in simpler fashion. For example, Clauser and Jakes could have used a funeral for an old comrade as an excuse to get Orry and Madeline to Richmond. This seems simple enough to me.


*Augustus “Gus” Main’s Age - In an article I had written about ”NORTH AND SOUTH: BOOK II”, I had pointed out that the screenwriters managed to foul up the age of Augustus Main, Charles Main’s (Kyle Chandler) only son by his first love, Augusta Main. Jakes and Clauser managed to repeat this mistake in their screenplay for ”HEAVEN AND HELL”. The third miniseries began with young Gus around the age of five. According to Charles, Gus had been born just before the war. Where did this come from? It was bad enough that Gus looked older than he should have in ”BOOK II”. Then they aged Gus even more, despite the fact that only a few months had passed between the second and third miniseries. Worse, Gus failed to age, as the story for ”HEAVEN AND HELL” progressed. Especially since the miniseries was obviously set between 1865 and 1868.


During my last viewing of ”HEAVEN AND HELL: North and South Book III”, I was surprised to discover that a good number of its so-called “bloopers” originated from writing mistakes that appeared in both ”NORTH AND SOUTH” and ”NORTH AND SOUTH: BOOK II”. Those “bloopers” include:


*Cooper Main - Prodigal Son - In John Jakes’ literary saga, South Carolina planter Tillet Main and his wife Clarissa had one nephew – Charles, and four children – Orry, Ashton, Brett and the oldest offspring, Cooper (Robert Wagner). However, Cooper was never featured in the first two miniseries. His appearance finally came in the third miniseries, ”HEAVEN AND HELL”. Those fans who had never read Jakes’ novels had accused the producers and screenwriters of creating the character for the miniseries. Personally, I never understood why the screenwriters of ”NORTH AND SOUTH” and ”NORTH AND SOUTH: BOOK II” had failed to include Cooper. After all, his presence proved to be vital to the saga by the third novel.

My only problem with Cooper’s presence in this third miniseries is that Jakes and Clauser had failed to create a back story to explain his disappearance from the first two miniseries. This failure made his appearance in this third chapter rather incongruous.


*Charles Main and Elkhannah Bent in Texas - Another plotline that took the fans of Jakes’ saga by surprise was the revelation that Charles Main had served under Elkhannah Bent in Texas, during the late 1850s . . . before the Civil War. No such story arc had been present in the first miniseries, ”NORTH AND SOUTH”. However, this plotline was present in Jakes’ 1982 novel. The first miniseries did show Charles serving in the U.S. Army in 1850s Texas. It also revealed Bent as an Army officer, visiting New Orleans, Louisiana around the same period. And New Orleans had served as one the main terminals in and out of Texas, east of the Mississippi River during the early and mid 19th century.

Charles’ past with Elkhannah Bent proved to be one of the major storylines in third story. The screenwriters for the miniseries had no choice but to include it. Especially since Charles and Bent’s past history played a major role in Jakes’ story. Most fans would probably hate for me to say this, but I believe that the screenwriters and producers for ”BOOK I” made a major mistake in their failure to include Charles’ experiences in Texas in the miniseries. Especially, since it proved to become an important storyline.


*The Return of Stanley and Isobel Hazard - I am surprised that many fans of the saga were surprised to see Stanley and Isobel Hazard (Jonathan Frakes and Deborah Rush) footloose and fancy free in this third miniseries. After all, they were last seen in ”BOOK II” facing prosecution for war profiteering. As it turned out, the couple was never investigated or prosecuted for war profiteering in Jakes’ second NORTH AND SOUTH novel, ”LOVE AND WAR”. Also, ”HEAVEN AND HELL” portrayed Stanley pursuing a political career, something that never happened in the first two miniseries. Yet, the literary Stanley Hazard had began his political career as far back as the second half of the first novel, ”NORTH AND SOUTH”. Again, another so-called “blooper” in ”HEAVEN AND HELL” originated from the screenwriters’ failure to be faithful to the novels when it counted.


*Revelation of Madeline Main's Ancestry - In the first miniseries, "NORTH AND SOUTH", the character Madeline Fabray LaMotte Main learned from her father that her mother was a quadroon (one-quarter African descent) and that she was an octoroon (one-eighth African descent). She eventually revealed this information to her love, Orry Main. Her secret ended up being exposed to both Elkhannah Bent and her despised sister-in-law, Ashton Main Huntoon (Terri Garber) in the second miniseries, due to Bent's discovery of a painting of Madeline's mother in a New Orleans whorehouse. Somehow, the Mains' local neighbors - including the local Klan leader, Gettys LaMotte (Cliff DeYoung) - learned about her ancestry. I would love to know how they managed this, because Bent and Ashton never had the opportunity to expose Madeline's secret. In fact, the entire storyline regarding the exposure of Madeline's ancestry is riddled with a good number of bloopers that originated in Jakes' first novel, "NORTH AND SOUTH".


*Miscellaneous Characters - Characters last seen in ”NORTH AND SOUTH: BOOK II” failed to make an appearance in the third miniseries:

-Semiramis – the Mont Royal house slave was last seen engaged to another one named Ezra. Both had been given land to farm by Clarissa Main in the last episode. A former slave named Jane (Sharon Washington) took Semiramis’ place in the third miniseries. However, Semiramis was only featured in the first novel. And Jane was featured in both the second and third novels.

-Ezra – Semiramis’ future husband and a character that had been created solely for the second miniseries and not featured in any of the novels.

-Hope Hazard – George and Constance Hazard’s (James Read and Wendy Kilbourne) had been a month before the Civil War broke out in the first miniseries and was seen in the second miniseries. However, she never existed in any of the novels. The literary George and Constance had two children – William and Patricia – in all three novels. And they were seen in ”HEAVEN AND HELL”.

-Virgilia Hazard – Portrayed by Kirstie Alley, George Hazard’s younger sister had been killed at the end of ”BOOK II” - executed for the murder of a congressman. However . . . this never happened in the second novel. And her character played a major role in the third novel. Unfortunately, she did not appear in the third miniseries. Her presence was sorely missed by me.


”HEAVEN AND HELL” was not a perfect miniseries. Its production values did not strike me as impressive as the first two miniseries. And it had its share of flaws. However, I was surprised to discover that it was a lot more faithful to Jakes’ third novel, ”HEAVEN AND HELL” than ”BOOK II” was to the second novel, ”LOVE AND WAR”. More importantly, a good number of changes made by the screenwriters of the first two miniseries produced some of the “bloopers” found in ”HEAVEN AND HELL”. I could accuse Wolper Productions and the screenwriters of ”NORTH AND SOUTH” and ”NORTH AND SOUTH: BOOK II” for failing to consult author John Jakes on how he would continue his saga in the third novel. But the problem is that Jakes also happened to be one of the screenwriters for all three miniseries. While co-writing the first two miniseries, he should have stood his ground and resisted some of the major changes made in them – especially in the second miniseries.

Sunday, February 24, 2013

"KING KONG" (2005) Photo Gallery



Below are images from Peter Jackson's 2005 movie, "KING KONG". Starring Naomi Watts, Jack Black and Adrian Brody; the movie is the second remake of the original 1933 film:


"KING KONG" (2005) Photo Gallery





























































Friday, February 22, 2013

"JACK REACHER" (2012) Review

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"JACK REACHER" (2012) Review

British author Lee Childs (aka Jim Grant) wrote a series of novels featuring a former U.S. Army Military police officer turned drifter, who is occassionally hired to investigate difficult cases. One of those turned out to be the 2005 novel, "One Shot", which was recently adapted as a motion picture that stars Tom Cruise.

When writer/director Christopher McQuarrie decided to adapt "One Shot" as a movie, one of the first things he did was change the story's title and location. The story became "JACK REACHER" and the setting was changed from a small Indiana city to Pittsburg, Pennsylvania. Like the novel, "JACK REACHER" began with the death of five random people by a sniper firing from a parking garage. Police detective Emerson finds evidence pointing a a former Army sharpshooter named James Barr, who was immediately arrested. Instead of confessing to the crime, Barr asked the police and District Attorney Alex Rodin to get drifter and former Army police Jack Reacher to help him. Reacher finally contacted Barr's attorney, Rodin's daughter, Helen Rodin. Reacher believed that Barr was guilty, because the latter had originally went on a killing spree during his last tour in Iraq, but got off on a technicality due to his victims being guilty of the gang rape of several Iraqi women. But Reacher's investigation of the crime scene, along with an encounter with local thugs hired to scare him off, made him realized that Barr had been framed and that the killing spree was merely a cover up for a specific victim.

In the end, "JACK REACHER" proved to be a first-rate action thriller that I enjoyed very much. I would never consider the movie to be one of the best starring Tom Cruise. The basic narrative for "JACK REACHER" did not strike me as particularly original. I have come across similar action or mystery tales in which a series of killings hid one particular murder. But I must admit this particular story presented it in a particularly original way - especially with such a non-conformist like Reacher serving as investigator. There were other aspects of the movie that impressed me. One, I found the opening sequence featuring the sniper's killing of the five people not only gruesome, but also nail biting. The tension in this particular sequence seemed ten-fold, when it looked as if one of the sniper's victims might end up being a young child. Once Reacher realized that either Detective Emerson or District Attorney Rodin may be working for the man behind the shootings, the reek of law enforcement reeked throughout the film's second half, increasing the movie's tension ten fold. The movie also benefited from a first-rate, three-way car chase through the streets of Pittsburgh; with the police chasing Reacher for the murder of a young woman, and Reacher chasing two of the bad guys. The chase sequence also emphasized Caleb Deschanel's colorful photography of Pittsburgh, a city that has struck me as quite charming during the past two decades.

There were a few aspects of "JACK REACHER" that troubled me. I wish that McQuarrie's script had allowed Cruise's Jack Reacher and Rosamund Pike's Helen Rodin to consummate the sexual tension between them . . . at least once. I did not require the movie to end with them as a newly established couple. But I figured that one night between the sheets would not have hurt. Honestly! I found myself inwardly screaming "Get a room!" every time it looked as if they were about to lock lips. But the bigger problem for me turned out to be the main villain - a former Soviet prisoner-turned-Russian mobster known as the Zec. Do not get me wrong. I believe that director-actor Werner Herzog gave an exceptionally chilly performance as the mobster. But . . . I could not help but wonder if author Lee Childs and later, MacQuarrie tried too hard to portray him as some kind of cold monster, willing to do anything to survive . . . even chew off his fingers while in prison, in order to prevent himself from succumbing to gangrene. The Zec even forces one minion to either chew off a finger or face death for the latter's mishandling of Reacher. I would have been impressed if it were not for the fact that the willingness to do anything to survive . . . or self-preservation is something of which just about every human being is capable. It is simply human nature. And in the end, I was not that impressed by the Zec. Also, I could have sworn that the Zec and his men were carrying out a contract on behalf of someone else. I certainly got that impression in his first scene, which I eventually found rather misleading.

However, I was impressed by the film's cast. I have already commented on Werner Herzog's portrayal of the mobster called the Zec. Australian actor Jai Courtney gave an equally chilling performance as Charlie, the Zec's main henchman and the shooter who kill those five people, in cold blood, in the opening scene. Robert Duvall made an entertaining addition to the cast as a former USMC veteran, who operated a gun shop frequented by the main suspect and the real killer. The year 2012 seemed to be the one for British actor David Oyelowo. He started out the year in "RED TAILS" (okay, not much of a start), but he finished out the year with an appearance in "LINCOLN" and a major role in this film. And I was very impressed by his portrayal of Detective Emerson. One, Oyelowo seemed to have a pretty good grasp of an American accent. And two, I found his portrayal of the police detective to be deliciously complex and murky. I could also say the same for Richard Jenkins, who gave a slightly twisted and sardonic portrayal as District Attorney Rodin. It seemed a pity that his appearances in the film seemed slightly limited.

It occurred to me that I have not seen Rosamund Pike in a major film production in quite a while. I do recall that she had appeared as Sam Worthington's leading lady in "WRATH OF THE TITANS". But I would rather forget about that particular film. Thankfully, she was much more memorable as Helen Rodin, the feisty defense attorney who hired Reacher. She possessed a solid American accent and more importantly, I enjoyed the way Pike infused both professionalism and emotion into her character. And her screen chemistry with Tom Cruise reeked with sexuality. Although I would not consider "JACK REACHER" to be among Cruise's top films, I must admit that I think his role as the eccentric former Army investigator might prove to be one of his better roles. I really enjoyed Cruise's performance as Reacher. Not only did he maintain the character's eccentricity, but he also projected a subtle weariness that made me understand the character's disappointment with society at large. He also infused a good deal of subtle humor that struck me as both entertaining and off-kilter. But more importantly, Cruise did a great job in projecting the character's unstoppable force, without having to be the same height (6'5") as the literary Reacher.

Like I said, I would not view "JACK REACHER" as one of the most memorable action movies I have ever seen. But I certainly would not regard it as mediocre. It possessed a solid story, written and directed by Christopher MacQuarrie. The movie also benefited from first-rate performances by a cast led by Tom Cruise in the title character.

Wednesday, February 20, 2013

"The Corellian Connection" [PG-13] - Chapter Ten




"THE CORELLIAN CONNECTION"

CHAPTER TEN

ANCHORHEAD, TATOOINE

The Lars' landspeeder sped toward the edge of one of Tatooine's oldest settlements, Anchorhead. It came to a halt near a square structure that served as the centerpiece of Tosche Station, the city's main power and distribution station. Owen climbed out of the landspeeder before he offered Padme a lending arm. "Thank you Owen," the former Nabooan senator said. "And thank you for bringing me here to Anchorhead. I realize that you had intended to come here on your own, but I needed to find another holoemitter. Or at least a new power source for my old one."

"It's no problem, Padme. Believe me." Owen gave his guest a reassuring smile. "Besides, I realize that you need a working holoemitter. And I did promise Beru that I would get a new moisture trap for the kitchen."

The pair slowly proceeded into Anchorhead's city limits. They entered one of the local pourstone stores, where Padme purchase a new power cell for her emitter. They found the equipment for Beru's moisture trap at a nearby junk dealer's shop. After leaving the second shop, Owen suggested they treat themselves to a light, midday meal at a local cantina. "I know the perfect place," he said. "The Weary Traveler. You'll find less of the local scum than you would at some cantina in Mos . . ."

"Good heavens! Owen?" A hooded figure approached the pair. Then he threw back the hood, revealing a frowning Obi-Wan Kenobi. "Padme? What in the blazes are you doing here?"

Owen nodded at the former Jedi Master. "Master Kenobi. I haven't seen you in several months. Not since you had recovered our vaporators from the Tusken Raiders."

To Padme's surprise, Obi-Wan's demeanor stiffened momentarily. "Ah . . . yes, well . . . I . . ." Obi-Wan hesitated. Then he took a deep breath. "Yes, well it had been a difficult time for us all."

A deep silence fell between the trio. Padme said, "Owen, you had spoken of a certain cantina. Why don't you take us there?"

Several minutes later found the trio seated at a table, inside the Weary Traveler. The décor looked simple and clean - typical of a Tatooine cantina. Padme only spotted at least three or four men that would usually be viewed as riff-raff. A waitress took their order. Padme asked for Cream of Womprat's Soup, Owen ordered Jerked Dewback and Obi-Wan, Lamta. Once the waitress walked away, Obi-Wan turned on the former senator. "Padme, what are you doing here on Tatooine? Where are the children?"

"Back at the farm with Beru," Padme quietly replied. "Owen and I are here on a shopping trip."

"Shopping . . ." Obi-Wan shook his head with an exasperated sigh. "But why are you here on this planet? Why did you leave Alderaan?" A silent moment passed before realization dawned in his eyes. "Oh. I see. The Empire had learned of your whereabouts. I don't mean to sound smug, Padme, but perhaps you should have accepted Master Yoda's advice and separate the child . . ."

Padme coldly interrupted. "The Empire was not searching for me. The Emperor doesn't know that I had been on Alderaan."

Obi-Wan's frown deepened. "I don't understand."

Owen spoke up. "The whole matter had to do with that Jedi Knight found and killed on Andalia. And some senator from that planet called Solipo Yeb."

"If you must know," Padme continued, "Bail had received a message from Solipo Yeb and the Empire managed to trace it. I'm sure you're aware that he is now a wanted fugitive. Apparently, Palpatine wanted to find out if anyone on Alderaan has been in contact with Solipo. In case some new resistance against the Empire flared up."

Obi-Wan nodded. "I see. My apologies if I had jumped to conclusions."

Padme coolly retorted, "That seems to be a habit of the Jedi."

"I beg your pardon?" Obi-Wan's eyes reflected shock at Padme's cold retort. "Is there something wrong, Padme? You seem rather . . . distant."

From the corner of her eye, Padme saw the cantina's barkeeper switch on the dining room's HoloNet receiver. She exchanged a brief, knowing look with Owen before she answered. "I'm . . . I mean . . ." She broke off with a sigh. Might as well tell the truth, she decided. "After my arrival at Alderaan, last year . . ." she began.

The waitress returned with their food. She also served Corellian ale to the two men and Blue milk to Padme. After she left, Obi-Wan said to Padme, "I'm sorry. What were you about to say?"

Padme took a deep breath and picked up her spoon. "On Alderaan, Bail had . . ."

A voice in the cantina cried out, "Hey barkeep! Turn up the volume! I can't hear the news! It's about the Wookies!"

All eyes inside the cantina focused upon the HoloNet receiver's screen. The newscaster continued, ". . . reliable sources have stated that the Wookies had allowed a band of rogue Jedi to use Kashyyyk as a base for Rebel strikes against the Empire. The police action is believed to have begun with a demand to surrender the Jedi. Instead, the Wookies resisted, and the resulting battle left tens of thousands dead, including the Jedi insurgents, and perhaps hundreds of thousands imprisoned. On Coruscant, Kashyyyk Senator Yarua and the members of his delegation were placed under house arrest before . . .”

Recalling the Imperial ship that had stopped the Alberforce, Padme inhaled sharply. "So, that's where they were headed," she murmured.

Both Owen and Obi-Wan frowned at her. "What are you talking about?" Owen demanded.

"The Empire has killed more Jedi?" Obi-Wan asked at the same time.

Instead of answering, Padme returned her attention to the news. The newscaster added, "But on the minds of many just now is the identity of this person, captured by holocan on a landing platform normally reserved for the Emperor himself." The monitor projected the image of a tall, dark-haired man in his early twenties. He wore a black tunic and cape. And his eyes reflected cold intensity. “HoloNet News has learned that he is known in the highest circles as Darth Rasche. Beyond that, almost nothing is known, save for the fact that he led the action on Kashyyyk.”

"Good heavens!" Obi-Wan exclaimed, drawing curious stares from Padme and Owen.

Owen asked, "Do you know him? This Darth Rasche?"

Obi-Wan continued, "Yes! That's . . . that's Romulus Wort! He's a Jedi Knight. Or he used to be. He was the apprentice of Master Wo-Chen Puri." The former Jedi Master's stunned eyes remained fixed upon the screen. "How in the blazes did he become a Sith Lord?"

"Sith Lord?" Owen continued.

Obi-Wan shook his head in disbelief. "I don't understand! Romulus Wort? I never thought he would turn to evil. I thought . . ." He broke off, as his face turned red. His eyes became glued to his plate of food.

Padme had a good idea what . . . or whom was on Obi-Wan's mind. And she felt her anger slowly returning. "You thought that Anakin had returned to the Emperor," she finished in a cold voice. "Didn't you?"

Guilt flashed in Obi-Wan's eyes. "Really Padme, why would you . . .?"

"Don't lie to me, Obi-Wan," Padme interrupted coldly. "I know that Anakin is alive. Bail had told me when I first arrived on Alderaan."

A long-suffering sigh escaped from Obi-Wan's mouth. "Padme," he began in a weary voice, "I'm sorry that I had lied to you, but you must understand. Both Master Yoda and I thought it would be best . . ."

". . . if I didn't go wandering all over the galaxy in search for Anakin," Padme finished bitterly. "Dragging the children along. Thank you for your confidence in my intelligence, Master Kenobi."

Anger now flickered in the former Jedi's eyes. "I'm sorry, but we did what we thought was right!" he snapped. "What is your excuse?"

"Excuse me?"

"You and Anakin had managed to wed behind everyone's backs and keep the marriage a secret for three years," Obi-Wan coldly retorted. "What is your excuse?"

Rage nearly engulfed Padme's body. She shot out of her chair and raised her hand to strike Obi-Wan. "Padme!" Owen hissed, as he glanced anxiously around the cantina's taproom. "Not here. Please!"

Padme glanced around and noticed a few pairs of eyes staring at her. Slowly, she returned to her seat. Then she took a deep breath to calm herself. "Of course. You're right. Thank you, Owen." She flashed a brief smile at the moisture farmer before allowing her gaze to return to the Jedi Master's face. "Perhaps Anakin and I were wrong to marry in secret, Obi-Wan," she continued in a soft and chilly voice. "But that does not excuse your lie about Anakin. One of the problems I've always had with the Jedi is your assumption that you knew what was right for the Republic." She paused dramatically. "Even when you were wrong."

The former Jedi Master's face trembled with suppressed emotion. His usually bright blue eyes became flat and lifeless. Padme wondered if she had gone too far. Obi-Wan answered her silent question, when he deliberately placed his fork on his plate and stood up. "Perhaps it would be best for me to allow you two to dine alone," he said in a cold and polite voice. "As you had originally intended."

"Perhaps that would be best," Padme murmured, as she stared at her bowl of soup.

Obi-Wan placed a few coins on the table. "For the meal. Good day, Padme. Lars." He nodded briefly at the moisture farmer and walked away.

A heavy sigh left Owen's mouth. "I wonder long it will be before either of us will see him again?"

"I don't know," Padme answered. "And to be honest, I don't think I really care." She resumed eating her soup. Although she felt justified in her words, a small part of her regret severing her one last link to her old life with Anakin.

------

KHOONDA PLAINS, DANTOOINE

The Javian Hawk stood on a patch of thick, lavender grass, not far from a sturdy spiky blba tree. Underneath the tree sat Anakin with his legs crossed beneath him and his wrists resting on his thighs. In the far distance, young Han scampered through the tall grass in pursuit of a fabool, one of the animals native to Dantooine.

Anakin inhaled deeply. He had not experienced such upheavals in his life, since those last days of the Clone Wars. In the past week, he had learned about the death of an old friend, nearly became a victim of theft - twice, escorted an important fugitive across the galaxy, destroyed an Imperial warship and acquired a new companion - the eleven year-old thief that was now in pursuit of a fabool.

After delivering Solipo and Thalia Yeb to Averam, Anakin and Han had purchased supplies for the Javian Hawk's repairs. Anakin also learned the identity of the Emperor's new apprentice, while watching a news report about the Kashyyyk police action, inside a cantina. He still found it difficult to belief that the highly-esteemed Romulus Wort had replaced him as the Emperor's new apprentice. What could have led someone like Romulus to succumb to the Dark Side? Anakin figured he should be relieved that someone other than himself now served Palpatine. But all he felt was sadness and regret for Romulus' fate . . . and a slight sense of guilt that his actions at the Jedi Temple may have led the other man into Palpatine's grip.

The Javian Hawk's crew had also acquired a new client. Before the starship's departure from Averam, a representative from the Tagge Corporation hired Anakin to ship a supply of Chandrilan brandy and Mandalorian wine to Dantooine for the planet's wealthy ranchers. The Empire finally caught up with the Hawk during a fuel stop on Toprawa. Anakin found himself being question by a pompous Imperial official investigating the Agamemnon's disappearance. With the evidence of the Hawk's firefight with Agamemnon repaired and the ship's logs changed, Anakin managed to avoid any kind of disclosure and arrest.

The pair had eventually delivered their cargo to another Tagge representative upon their arrival on Dantooine. As an antidote to the past week's tumultuous events, Anakin suggested a picnic on the outskirts of Khoonda settlement. After finishing a meal of Alderaan Stew and Bribb juice, Han engaged in his pursuit of the fabool. And for the first time in over a year, Anakin decided to meditate.

At first, it had seemed difficult for Anakin to calm his mind - to shut out his surroundings. Eventually, he finally managed to attune his senses to the Force. This went on for quite some time, until a familiar voice caught his attention. "Hello Anakin," a soft, masculine voice greeted. "I wondered if we would ever meet again."

Slowly, Anakin opened his eyes. He found a tall, bearded man smiling kindly at him. "Master Qui-Gon?" Anakin exclaimed with confusion. Sure enough, the late Jedi Master who had discovered him on Tatooine sat opposite him, surrounded by a blue, ghostly light. "H-how did you . . .?"

"Oh, don't worry," Qui-Gon Jinn declared. "I assure you that I am quite dead."

Anakin shook his head in disbelief. "I don't understand. How did you . . .? I mean, Obi-Wan told me that once a Jedi dies, his or her identity becomes one with the Force, forever erasing the Jedi's consciousness."

"Yes, it does happen like that," Qui-Gon replied. "But I have learned to retain my consciousness beyond death. Thanks to the Ancient Order of the Whills Scrolls. I had hoped to teach them to you, one day. Alas . . ." He broke off with a regretful sigh. "Well, better late than never."

A frown creased Anakin's forehead. "Are you suggesting that you teach me this path to immortality? Why would you . . .? I mean . . . well, after all I had done, I would think no one would consider me worthy of such teachings."

"What you've done?"

Anakin glanced away. "Please, Master Qui-Gon. If you are now one with the Force, surely you must know about what I had done to those Tusken Raiders following my mother's death. And my participation in the Jedi Purge." He paused, as his Sith predecessor came to mind. "And what I had done to Dooku. I have a great deal of blood on my hands."

"Yes, you do, Ani," Qui-Gon gravely replied. "And your actions are something that will remain with you for all time. We all have to face the consequences of our actions. You, me, Obi-Wan, Yoda . . ." He paused briefly. "Even your wife, Padme."

The mention of his late wife caused Anakin to glance sharply at his former mentor. "Padme? She's never . . ."

"If I recall," Qui-Gon said, interrupting Anakin, "when she was Queen of Naboo, your Padme was the one who had proposed a vote of no confidence against Chancellor Valorum . . . paving the way for Palpatine to become the Republic's new leader. And she did so out of frustration and anger. And of course, there was her belief that she could convince Dooku to release Obi-Wan on Geonosis through diplomacy. A belief that led to the capture of you both."

Anakin inhaled sharply. "Look, I realize that Padme was not perfect, but I would prefer if we don't talk about her. At least not yet."

One of Qui-Gon's brows arched questioningly. "I see. If you insist. I can only assume that by your words, 'not yet', you are willing to become my apprentice?"

A slight grin finally touched Anakin's lips. "As you had said, Master - 'better late than never'". A thought came to him. "By the way, are you teaching Obi-Wan, as well? Is he still alive?"

Qui-Gon nodded. "Yes, Obi-Wan is still alive. And he has become my padawan. Along with Yoda."

"Master Yoda? He's still alive?"

Yes, he is." According to Qui-Gon, Yoda had survived an attack by clone troopers on Kashyyyk. The late Jedi Master continued, "After learning Palpatine's true identity, he managed to survive a duel against the Emperor. Like Obi-Wan, he is also my apprentice."

Anakin frowned. "But the Emperor still lives. Are you saying that both he and Yoda survived the duel?"

"Oh yes," Qui-Gon answered with a nod. "Yoda realized that his attack against the Emperor was ill-advised and decided to flee. He will have plenty of time to learn from his mistakes and overcome them. Just as you and Obi-Wan will."

Recalling the news report he had seen on Toprawa, Anakin asked, "What about Romulus Wort? I'm sure you're aware that he's the Emperor's new apprentice."

Qui-Gon shrugged. "What about him?"

"During my fight with Obi-Wan on Mustafar," Anakin continued, "I had a vision of what would have befallen me, if I had continued to serve the Emperor. Which is why I had walked away from the fight. Romulus seemed to have taken my place . . . without the black mask and missing limbs. But . . . I can't help but feel that I'm to blame. If I had not joined the Emperor and help set in motion the Jedi Purge, he would have never . . ."

Qui-Gon stated emphatically, "Romulus Wort had made his own decisions, Ani. He did not have to succumb to his own inner darkness and fear of loss. It was not set in stone that he would have remained a Jedi, if the Purge had not occurred. There would have been other opportunities for Master Wort or any other Jedi to choose the wrong path."

"So, do you feel that it's too late for him?"

A thoughtful expression appeared on the Jedi Master's face. "No," he finally said. "It's not. Remember Anakin, the future is always in motion. After all, you managed to turn your back on the Sith. Master Wort still has that opportunity. When all of you have finally learn to let go of your attachments, surrender to the will of the Force and not try to manipulate it for your own selfish gains, you can truly become one with the Force. And still maintain your individual consciousness."

At that moment, Han appeared on the horizon. He held a fabool in his arms. "Interesting young boy, your friend," Qui-Gon added. "When did he become your companion?"

Anakin hesitated. "Just recently. Han is strong with the Force." Qui-Gon stared at him, questioningly. "No, not that strong," the young man added. "But he's tough, resourceful, intelligent and has great reflexes. He might prove to be a great pilot, one day. And I'm not just projecting myself upon him."

"Hmmm. Well, it is time for me to leave you." Qui-Gon stood up. So did Anakin. "Be sure to continue your meditation, Anakin. And be mindful of the Living Force. Until the next time." His figure disappeared from view.

Anakin murmured, "Until next time, Master. May the Force be with you."

Han raced toward Anakin, still carrying the animal. "Where you talking to yourself?" he asked, frowning at Anakin.

The former Knight smiled. "No. I was just thinking about an old friend." He nodded at the fabool. "Do you plan to keep your new companion?"

"Huh?" Han glanced at the animal. "Oh. Uh, no. I just wanted to see if I could catch it. I guess I should let it go, huh?"

"I think that would be a good idea."

Han released the fangool. Which quickly scampered away. "So, when are we leaving?"

Anakin sighed. "I guess now would be a perfect time." He picked up the blanket.

"Great! I'll finally get to see Nar Shaddaa. I've heard a lot about it."

The young man and the boy strode toward the Javian Hawk's boarding ramp. "There's nothing to be excited about, Han," Anakin said. "Trust me. Nar Shaddaa is just a small-scaled version of Coruscant . . . and with no politicians. Besides, we have one last stop to make before we head for Nar Shaddaa. To a place called the Crystal Cave. It's not far from here."

"Why are we stopping there?" Han demanded.

Anakin paused. "Well . . . there's a special crystal I need to find inside the cave. A very special crystal for something I plan to construct." He smiled at the boy and ruffled the latter's hair. "Let's go." The pair marched up the ramp and boarded the starship. Minutes passed before the Javian Hawk lifted off the ground and soared into the sky above.


THE END