When I was young I sneaked in the first fifteen minutes of 'The Keep' when it was shown on BBC2's Moviedrome before I had to go to bed. Those scenes stuck in my head for years before it finally appeared on video a year or so ago. The dreamlike quality, the Tangerine Dream score, the reliance on atmosphere and implication rather than expository dialogue hit me right where it matters. When I finally saw the whole film at the age of twenty-four I was disappointed as it is, as other reviewers have pointed out, incoherent and badly dated. But it still has that Michael Mann touch, the same feeling that permeates 'Manhunter' and 'The Insider', both two of my favourite films of all time. 'The Keep' is all about atmospheres and ambience - when the demon becomes visible the film loses its way due to clumsy dialogue and effects. The unseen and the unsaid are what aids the film and its best scenes follow this rule. The film opens in what I can only describe as the closest feeling to a dream that you've ever had. Long shots of mountains, chasms, water, Jurgen Prochnow's eyes, the driving music, and then into the village that surrounds the keep. The film moves to slow motion and you feel like events are taking place within a fairytale. The scene where the soldiers remove the silver cross and the force is unleashed is incredible. There is one of the most fantastic shots in cinema when the camera pulls back into the recesses of the keep and the force makes its way to the intruders above. Scenes like this make up for the remainder of the film which seems to rush to the finale and not explain what is actually happening. I hope that one day a DVD is released and that Mann releases the film as close to his vision as intended. I'd recommend 'The Keep' if you like slowly paced, ambient, and mysterious films where every question is not answered. You may end up feeling frustrated!
Reviews
8 Reviews
Darkman
(1990)
He's a FREAK, ladies and gentleman! A FREAK! He's a FREAK!
2 June 2002
Just watched this film again on video as part of revisiting all of Sam Raimi's films after seeing the excellent 'Spider-man', and it's just as I remembered; stylish, action-packed and funny as f**k.
I remember reading reviews which brought the film down for it's melodrama and inappropriate humour and pointless camera movements; it's these aspects which make the film as good as it is, and UNIQUE! I love the way you end up laughing at Liam Neeson's most horrifying experiences (when he's blown into the sky on fire, and moans as he flies past the camera; when the box he's sleeping under blows away so rain water can pour on him; and when his 'face' bubbles after he wins "the f**king elephant").
The film is like a live comic book, every aspect is heightened and kinetic and colourful and loud. And if you watch the film and are thinking "That isn't realistic!" or "Cheesy!" then you're missing three points (and i still have seven more points..!). RECOMMENDED!
Classic lines:
Neeson: "Let him breathe!" Reply: "Ventilate him." Gun: "Bang."
"That will be...just fine."
"Why...I don't even know how I got DRESSED!"
"There's two of those sons-of-b***hes! But which one is Durant?!"
I remember reading reviews which brought the film down for it's melodrama and inappropriate humour and pointless camera movements; it's these aspects which make the film as good as it is, and UNIQUE! I love the way you end up laughing at Liam Neeson's most horrifying experiences (when he's blown into the sky on fire, and moans as he flies past the camera; when the box he's sleeping under blows away so rain water can pour on him; and when his 'face' bubbles after he wins "the f**king elephant").
The film is like a live comic book, every aspect is heightened and kinetic and colourful and loud. And if you watch the film and are thinking "That isn't realistic!" or "Cheesy!" then you're missing three points (and i still have seven more points..!). RECOMMENDED!
Classic lines:
Neeson: "Let him breathe!" Reply: "Ventilate him." Gun: "Bang."
"That will be...just fine."
"Why...I don't even know how I got DRESSED!"
"There's two of those sons-of-b***hes! But which one is Durant?!"
A.I. Artificial Intelligence
(2001)
One of a kind.
26 September 2001
Warning: Spoilers
*Spoilers!*
This has to be one of the most original, affecting and entertaining films I've seen.
I wasn't expecting the film to be as emotionally upsetting as it is. Knowing that David is programmed to love (and thus meaning he'll do anything to win his mother's love), you're watching an inevitable downward spiral for him; Monica's real son gets him in serious trouble several times, gradually destroying any trust or feeling she has for him. The scene where David is abandoned by Monica is horrific - by this point you've almost forgotten he's a robot and the effect is so strong thanks to Haley Joel Osment's amazing performance.
The mecha Gigolo Joe (Jude Law) is such a relief as not only is he an entertaining character but he becomes David's first real (!) friend after his family's disposal. The Flesh Fair sequence is enhanced by seeing Ministry perform 'What About Us?' as robots are being torn apart - I never thought I'd see that band in a Spielberg film!
The scenes in Manhattan are eerie and breathtaking - the city is submerged thanks to polar ice caps melting - and are as seamless visually as previous effects sequences in the film. The World Trade Centre towers sticking out of the water is quite poignant due to what's happened (it brought gasps from the audience I watched the picture with a few days ago).
In agreement with comments before this one, I too found the film's ending to sit uneasily with the action preceding, moving from bleakness to warmth - but to have ended the film at the point on the seabed would have been unfulfilling. For all the trauma and pain that David goes through on his lengthy journey I think Spielberg was right to give him (and the audience) something back - otherwise the film's whole journey leads nowhere.
The film won't suit everyone (the ending, the pacing) but I can't imagine any viewer not finding at least one element that will stick in their brain for many days/weeks/months after they've seen the film. I, for one, can't WAIT for this to come out on DVD. It's too soon after seeing it for the first time, but I think this is a possible masterpiece and will become one of my favourite films ever.
This has to be one of the most original, affecting and entertaining films I've seen.
I wasn't expecting the film to be as emotionally upsetting as it is. Knowing that David is programmed to love (and thus meaning he'll do anything to win his mother's love), you're watching an inevitable downward spiral for him; Monica's real son gets him in serious trouble several times, gradually destroying any trust or feeling she has for him. The scene where David is abandoned by Monica is horrific - by this point you've almost forgotten he's a robot and the effect is so strong thanks to Haley Joel Osment's amazing performance.
The mecha Gigolo Joe (Jude Law) is such a relief as not only is he an entertaining character but he becomes David's first real (!) friend after his family's disposal. The Flesh Fair sequence is enhanced by seeing Ministry perform 'What About Us?' as robots are being torn apart - I never thought I'd see that band in a Spielberg film!
The scenes in Manhattan are eerie and breathtaking - the city is submerged thanks to polar ice caps melting - and are as seamless visually as previous effects sequences in the film. The World Trade Centre towers sticking out of the water is quite poignant due to what's happened (it brought gasps from the audience I watched the picture with a few days ago).
In agreement with comments before this one, I too found the film's ending to sit uneasily with the action preceding, moving from bleakness to warmth - but to have ended the film at the point on the seabed would have been unfulfilling. For all the trauma and pain that David goes through on his lengthy journey I think Spielberg was right to give him (and the audience) something back - otherwise the film's whole journey leads nowhere.
The film won't suit everyone (the ending, the pacing) but I can't imagine any viewer not finding at least one element that will stick in their brain for many days/weeks/months after they've seen the film. I, for one, can't WAIT for this to come out on DVD. It's too soon after seeing it for the first time, but I think this is a possible masterpiece and will become one of my favourite films ever.
The Principal
(1987)
"GET - OUT - OF - THE - F***ING - CAR - MOTHERF***ER!"
27 June 2001
This is a great 80's film - James Belushi and Louis Gossett, Jr. are excellent and you're with them all the way as they're so likeable.
Rick Latimer (Belushi) is great; he starts off as being a kind-of drunken, violent loser (but he's funny so we let him off) and then becomes a reluctant hero who realises why he's a teacher in the first place and makes an effort to SORT THINGS OUT.
This film is full of COOL bits; every scene with Latimer on his motorcycle ("Disneyland!" or 'El Principal'), the scene where the makeshift security team crack down ("...set it off on the left, y'all, set it off on the right..."), the assembly scene ("NO MORE!")...all great. Soundtrack's also TOP (if you like 80's music..!).
Recommended.
"I got my a** kicked for nothin', Ricky!"
Rick Latimer (Belushi) is great; he starts off as being a kind-of drunken, violent loser (but he's funny so we let him off) and then becomes a reluctant hero who realises why he's a teacher in the first place and makes an effort to SORT THINGS OUT.
This film is full of COOL bits; every scene with Latimer on his motorcycle ("Disneyland!" or 'El Principal'), the scene where the makeshift security team crack down ("...set it off on the left, y'all, set it off on the right..."), the assembly scene ("NO MORE!")...all great. Soundtrack's also TOP (if you like 80's music..!).
Recommended.
"I got my a** kicked for nothin', Ricky!"
Strange Days
(1995)
Flawed but fantastic.
23 April 2001
Although many aspects of the film seem dated (which was inevitable being made so close to the millennium and now being looked at in hindsight) it still succeeds in the way the best movies should - visually, aurally and emotionally.
A lot of James Cameron's dialogue for Ralph Fiennes is rubbish, especially the so-called wisecracks and humorous moments. What makes Lenny identifiable and interesting is his feeling of loss for his ex, and his evolution from being a cowardly, self-pitying scumbag to a reluctant hero.
Angela Bassett is great as Mace, the one truly level-headed and strong character in the film, self-reliant and totally capable (saving Ralph's bacon a few times). Juliette Lewis is totally believable as a wannabe rock star (check her energy in the stage scenes) and adds the film's sauce in a top scene where Lenny plays back old memories which consist of her rollerblading in skimpy gear then stripping off - result!
The music is good as well, with a nice mix of Deep Forest, Skunk Anansie, Tricky, Marilyn Manson etc. which suits the film perfectly. The film's visual style is derivative of Blade Runner (it's futuristic L.A. filmed at night) but colors and camera angles used give it an appealing style of it's own.
What really makes the film, however, is the whole final New Year's Eve sequence, featuring murderous cops, helicopters, tall buildings, fireworks, guns, knives and a huge amount of confetti. The scenes between Fiennes and Bassett are very emotional (helped by the top score), and it makes me wish my millennium went like that (without the bloodshed).
RECOMMENDED!
A lot of James Cameron's dialogue for Ralph Fiennes is rubbish, especially the so-called wisecracks and humorous moments. What makes Lenny identifiable and interesting is his feeling of loss for his ex, and his evolution from being a cowardly, self-pitying scumbag to a reluctant hero.
Angela Bassett is great as Mace, the one truly level-headed and strong character in the film, self-reliant and totally capable (saving Ralph's bacon a few times). Juliette Lewis is totally believable as a wannabe rock star (check her energy in the stage scenes) and adds the film's sauce in a top scene where Lenny plays back old memories which consist of her rollerblading in skimpy gear then stripping off - result!
The music is good as well, with a nice mix of Deep Forest, Skunk Anansie, Tricky, Marilyn Manson etc. which suits the film perfectly. The film's visual style is derivative of Blade Runner (it's futuristic L.A. filmed at night) but colors and camera angles used give it an appealing style of it's own.
What really makes the film, however, is the whole final New Year's Eve sequence, featuring murderous cops, helicopters, tall buildings, fireworks, guns, knives and a huge amount of confetti. The scenes between Fiennes and Bassett are very emotional (helped by the top score), and it makes me wish my millennium went like that (without the bloodshed).
RECOMMENDED!
Tango & Cash
(1989)
"Don't move! Don't move your hands..."
1 April 2001
This film is great. It delivers exactly what it promises...and then some. Big action and hilarious banter between the two leads ensure full satisfaction on every viewing. Stallone and Russell are both excellent and the soundtrack by Harold Faltermeyer is fantastic. It's not the type of film to be watched if you're looking for an epic that will change your life, but definitely if you like to sit back and be mindlessly entertained.
"Chow, babe."
"Chow, babe."
The Long Kiss Goodnight
(1996)
"Die screaming..."
13 February 2001
Saw this film on TV just now for the first time in ages and realised what makes it so good...
SAMUEL L. JACKSON'S WARDROBE.
Throughout the film, Sam sports a frizzy lime-green bunnet, a dark green blazer, a checked green suit, and a yellow-green polo-neck sweater. No Oscar for costume design?
The scene where Geena Davis pushes him out of the car after realising she doesn't need him any longer is great - he simply lies in the middle of the road with a world-weary expression and lights up, oblivious to the cars speeding by or the undeniable pain in his back. Fantastic.
Great action, explosions and shoot-outs, just what you'd expect from the man Renny, and a hilarious script by Shane Black. RECOMMENDED!
SAMUEL L. JACKSON'S WARDROBE.
Throughout the film, Sam sports a frizzy lime-green bunnet, a dark green blazer, a checked green suit, and a yellow-green polo-neck sweater. No Oscar for costume design?
The scene where Geena Davis pushes him out of the car after realising she doesn't need him any longer is great - he simply lies in the middle of the road with a world-weary expression and lights up, oblivious to the cars speeding by or the undeniable pain in his back. Fantastic.
Great action, explosions and shoot-outs, just what you'd expect from the man Renny, and a hilarious script by Shane Black. RECOMMENDED!
The Hidden
(1987)
"Do NOT put that on my desk...I haven't seen my wife in a month!"
11 February 2001
'The Hidden' is a film that, to people I know, is vaguely remembered from the time it first came out on video and unavailable on video/DVD in the UK. Which is a shame, as it's BRILLIANT.
Great acting by Michael Nouri and (especially) Kyle MacLachlan as the leads, and a few familiar faces helping out. The script is funny and fast-paced, with a perfect amount of character development and emotion to help us take some investment in the far-fetched proceedings. The music by Michael Convertino, while certainly an acquired taste, is excellent, especially during the rooftop scene on the Neptune warehouse.
The film has many great scenes; the opening bank robbery/car chase, Gallagher at Beck's house for dinner, the rooftop shootout with the stripper, and the confrontation in the police cells.
Why didn't Jack Sholder make more like this? 4 out of 5.
"Buzz the gate, Joe. BUZZ THE F***IN' GATE!"
Great acting by Michael Nouri and (especially) Kyle MacLachlan as the leads, and a few familiar faces helping out. The script is funny and fast-paced, with a perfect amount of character development and emotion to help us take some investment in the far-fetched proceedings. The music by Michael Convertino, while certainly an acquired taste, is excellent, especially during the rooftop scene on the Neptune warehouse.
The film has many great scenes; the opening bank robbery/car chase, Gallagher at Beck's house for dinner, the rooftop shootout with the stripper, and the confrontation in the police cells.
Why didn't Jack Sholder make more like this? 4 out of 5.
"Buzz the gate, Joe. BUZZ THE F***IN' GATE!"
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