The Count of Monte Cristo (2002)
DIRECTOR: Kevin Reynolds
CAST:
Jim Caviezel, Guy Pearce, Dagmara Dominczyk, Luis Guzman, Richard Harris, James Frain, Michael Wincott, Henry Cavill
REVIEW:
Kevin Reynolds’ The Count of Monte Cristo, based on the book by Alexandre Dumas, is good old-fashioned swashbuckling adventure that harkens back to the sort popularized by Errol Flynn in the ‘30s. It packs swordfights, secret treasure, prison escapes, romance, betrayal, and revenge into a briskly-paced two hours, and if along the way it sacrifices a little depth, it’s not lacking in entertainment value. Continue reading
The Lord of the Rings: The Fellowship of the Ring (2001)
DIRECTOR: Peter Jackson
CAST: Elijah Wood, Ian McKellen, Viggo Mortensen, Sean Astin, Sean Bean, Liv Tyler, Cate Blanchett, John Rhys-Davies, Billy Boyd, Dominic Monaghan, Orlando Bloom, Christopher Lee, Ian Holm, Hugo Weaving, Andy Serkis
REVIEW:
The origins of this epic film trilogy date back to the early 1930s, when a British scholar named J.R.R. Tolkien began writing an equally epic series of books. The first to be completed and published was The Hobbit in 1937, but Tolkien had a more ambitious story in mind. Originally setting out to write one enormous novel, he ultimately realized that such a tale as he was spinning was too vast to be contained in one book, and instead formed it into a trilogy. Parts one and two, The Fellowship of the Ring and The Two Towers, were released in 1954, followed by the climax, The Return of the King, in 1957. Together, the trilogy was known as The Lord of the Rings. The significance of this fantasy series cannot be understated. Tolkien’s books were adored by millions the world over during his time, and since his death in 1973, they have remained a beloved and integral part of the fantasy literature genre. With such a following, it was inevitable that film versions would at least be attempted, but few filmmakers had either the inclination or the means to tackle such a daunting production. Mediocre animated versions of both The Lord of the Rings and its prequel The Hobbit were made—and flopped—in the 1970s, with the poor quality of the animation and various story omissions rankling fans. Two more decades passed, and finally New Zealand director Peter Jackson has taken on the ambitious task of bringing Tolkien’s epic trilogy to the big screen with the backing of New Line Cinema’s investment of nearly $300 million for the package deal of all three installments. Those worried about whether it is even possible to translate The Lord of the Rings intact to the screen can breathe a sigh of relief, at least if this first installment is any indication. Jackson and his cast and crew have succeeded on every level, and the result is not only a definitive film adaptation of part one of one of the most popular fantasy stories ever written, not only a majestic, enthralling adventure in its own right, but itself a pinnacle in filmmaking, one of the most colossal film productions ever made, and raising the meaning of “epic filmmaking” to a whole new level. In the future all epic fantasy adventures—including its own sequels—will have a high bar to hurdle. Continue reading
Star Wars Episode I: The Phantom Menace (1999)
DIRECTOR: George Lucas
CAST: Liam Neeson, Ewan McGregor, Natalie Portman, Jake Lloyd, Samuel L. Jackson, Ian McDiarmid, Ahmed Best, Anthony Daniels, Kenny Baker, Pernilla August, Terence Stamp, Ray Park, Frank Oz (voice)
REVIEW:
No release of any movie in recent memory had been anticipated as much as the first of George Lucas’ long-gestating Star Wars prequels. The sixteen year wait also gave Star Wars’ large and passionate—sometimes downright fanatical—fan following plenty of time to build expectations so astronomical that perhaps no movie could have realistically lived up to them. Looking back with the objectivity of years of hindsight, neither blinded by the eye-popping visuals or bitterly disappointed by some of the most banal dialogue in film history and other glaring flaws, it’s possible to see that The Phantom Menace is neither as terrible as its detractors accuse, nor as good as its defenders would argue. It’s also possible to see that, while some of the fan backlash was over-the-top and venomous—a backlash that would eventually turn George Lucas off to all things Star Wars and lead him to sell off the franchise to Disney—some of the blame also lies squarely with Lucas’ own questionable choices, poor judgment, and a self-indulgence that was already starting to rear its head in 1983’s The Return of the Jedi but by 1999 had ballooned as large as Lucas’ ego and controlling tendencies.
Continue readingThe Mummy (1999)
DIRECTOR: Stephen Sommers
CAST: Brendan Fraser, Rachel Weisz, John Hannah, Arnold Vosloo, Oded Fehr, Kevin J. O’Connor, Erick Avari, Jonathan Hyde, Omid Djalili, Bernard Fox, Patricia Velasquez
REVIEW:
While some hyperbolic reviews comparing it to Raiders of the Lost Ark are overstating the matter, Stephen Sommers’ The Mummy is a lot of fun as long as one doesn’t go in expecting much serious horror (the movie is too campy and semi-comedic to ever get very scary). It’s not the most substantial experience—-nor is it trying to be—-but it’s an ideal big summer diversion, with a lot of action, comedy, big splashy special effects, and a dollop of romance.
Continue readingThe Mask of Zorro (1998)
DIRECTOR: Martin Campbell
CAST:
Antonio Banderas, Catherine Zeta-Jones, Anthony Hopkins, Stuart Wilson, Matt Letscher, L.Q. Jones
REVIEW:
The Mask of Zorro provides just about everything we could ask for from a crowd-pleasing summer action-adventure blockbuster: swashbuckling derring-do, romance, and action-comedy, helmed with a high level of energy and flair by director Martin Campbell (Goldeneye), and a somewhat irreverent tone that doesn’t go so far as to parody the legendary character. Continue reading
The Lost World: Jurassic Park (1997)
![Retrospective] Why 'The Lost World: Jurassic Park' Is a Better Sequel Than It Gets Credit For - Bloody Disgusting](https://bloody-disgusting.com/wp-content/uploads/2018/06/jp-lw-1.jpg)
DIRECTOR: Steven Spielberg
CAST: Jeff Goldblum, Julianne Moore, Vince Vaughn, Richard Schiff, Vanessa Lee Chester, Arliss Howard, Pete Postlethwaite, Peter Stormare, Richard Attenborough
REVIEW:
When Jurassic Park debuted in 1993, it ushered in a special effects landmark, bringing dinosaurs to the screen that looked so astonishingly real that audiences were effectively ooed and ahhed into being easily forgiving of a generic narrative and thinly-drawn characters. Alas, four years later, the “wow” factor has worn off to the point that the special effects don’t quite compensate for the limitations this time. Steven Spielberg and Industrial Light & Magic are back, but while The Lost World has its highlights, it’s missing some of the magic.
Continue readingDNA (1997)
DIRECTOR: William Mesa
CAST: Mark Dacascos, Jurgen Prochnow, Robin McKee, Tom Taus
REVIEW:
DNA is the product of two special effects technicians—-director William Mesa and screenwriter Nick Davis—-who developed loftier filmmaking aspirations while seemingly lacking the talent (or originality) to chew what they’ve bitten off. DNA is a patchwork quilt shamelessly derivative of other, better movies (most blatantly but not limited to the 1987 Arnold Schwarzenegger sci-fi action flick Predator). Its producers Interlight Pictures——heard of them? Me neither—-rather hilariously oversold it as “Alien meets Indiana Jones”. That said, DNA is still a fun little diversion (if one can forgive it for practically plagiarizing swaths of Predator along with bits and pieces of other flicks along the way including Jurassic Park) with a humble 97 minute runtime that doesn’t overstay its modest welcome.
Continue readingThe Ghost and the Darkness (1996)
DIRECTOR: Stephen Hopkins
CAST: Michael Douglas, Val Kilmer, John Kani, Brian McCardie, Bernard Hill, Om Puri, Tom Wilkinson, Emily Mortimer
REVIEW:
The Ghost and the Darkness is obviously an attempt to do for the African tall grass what Jaws did for the water, with two lions in place of a great white shark, but it falls far short of Jaws’ classic status for a few reasons. One, director Stephen Hopkins is no Steven Spielberg. Two, Michael Douglas and Val Kilmer are not playing characters nearly as well-delineated as those played by Roy Scheider, Richard Dreyfuss, and Robert Shaw. Prolific author and screenwriter William Goldman (who’s written titles as diverse as The Princess Bride, Marathon Man, All the President’s Men, and Butch Cassidy and the Sundance Kid) does not churn out one of his stronger works. As an example of the general level of subtlety, the big game hunter is named Remington, and it’s the kind of movie where people say painfully earnest wannabe profundities like “you build bridges. You have to go where the rivers are”. Continue reading
The Rock (1996)
DIRECTOR: Michael Bay
CAST: Nicolas Cage, Sean Connery, Ed Harris, Michael Biehn, William Forsythe, David Morse, John Spencer, Stuart Wilson, Philip Baker Hall, Vanessa Marcil, Claire Forlani, John C. McGinley, Tony Todd, Bokeem Woodbine, Danny Nucci
REVIEW:
Among the dime a dozen action flicks on the filmographies of director Michael Bay and producer Jerry Bruckheimer, The Rock is one of the stronger (comparatively speaking) entries. It’s still firmly in the “check your brain at the door” category, but a buddy movie element and the charisma of stars Nicolas Cage and Sean Connery helps give a needed bump to the proceedings.
Continue readingBraveheart (1995)
DIRECTOR: Mel Gibson
CAST: Mel Gibson, Sophie Marceau, Catherine McCormack, Patrick McGoohan, Angus Macfadyen, Brendan Gleeson
REVIEW:
WARNING: THIS REVIEW WILL CONTAIN “SPOILERS”
For only his second outing behind the camera, Mel Gibson (who made his directorial debut in 1993’s The Man Without a Face, in which he also starred) has tackled the kind of ambitious undertaking Hollywood rarely mounts anymore, a grand epic throwback to the likes of Spartacus and Lawrence of Arabia. What might be more surprising is that he’s pulled it off in impressive fashion, showing he can handle a lavish production with large-scale battle scenes. In fact, among the directorial debuts or near-debuts of actors-turned-directors, it’s the most impressive entry since Kevin Costner’s Dances With Wolves five years earlier. Braveheart isn’t perfect, but it’s a rollicking, crowd-pleasing adventure painted on an epic scale with the kind of grandeur that might appeal to fans of Spartacus or The Last of the Mohicans. Continue reading