Important in the evolution (or devolution) of Sylvester Stallone is Nighthawks. From ‘81, it falls in that post-Rocky burst when Sly was still considered a legitimate actor. Though Paradise Alley, F.I.S.T or Rocky II didn’t threaten Hoffman or De Niro’s place as America’s top actor-laureates, Sly hadn’t yet become the steroidy, sequely crap machine he would come to be known as (of course with some quality films like Rocky III, First Blood to come and later Cop Land, but with mostly junk between). Today Nighthawks feels like a gritty '70s cop film. (It was originally developed to be French Connection 3.) It’s taut, strong but not overly muscular, and moves at a fast pace that you don’t notice till it’s over. Frankly, one of the most interesting aspects here is that Stallone in Serpico mode (bearded with longish hair) often wears glasses (big, clear disco-era glasses), which is something rarely seen in an action hero and symbolizes how the film was a leftover from the more character-driven film days (the glorious '70s) before guys like Schwarzenegger (and Sly) made them into total cartoons. Sly’s cop even pines for his ex-wife (played by TV’s Bionic Woman, Lindsay Wagner). The guy is vulnerable, not always successful and flawed. Nighthawks represents the end of an era, not just for Stallone but for the realistic action hero.
Actor Rutger Hauer made a name for himself on the international circuit from his work with director Paul Verhoeven in Turkish Delight, Soldier of Orange, Katie Tippel and Spetters. Nighthawks would be his first American film, though not his first English language one. (Earlier he had appeared in the British flick The Wilby Conspiracy.) Word from the set is that he and Stallone clashed. (More reason to love him!) Here the Dutchman plays a Euro terrorist known as Wulfgar who, after wearing out his welcome abroad, heads for the States. Meanwhile, New York street detectives Deke DaSilva (Stallone) and his partner Matthew Fox (Billy Dee Williams, fresh from The Empire Strikes Back introducing him to audiences outside of black '70s cinema, where he was already a superstar leading man) are being transferred from their play-by-their-own-rules undercover decoy work to a terrorist unit, which is already on the lookout for Wulfgar. Knowing he’s a sucker for foxy dancing queens, in a subtly intense scene, the eagle-eyed Deke manages to spot Wulfgar through the crowd at a discotheque, despite him getting face-changing plastic surgery, which leads to an exciting Friedkin-esque foot chase through lower Manhattan. Wulfgar manages to finally escape with a nasty knife slash to Fox’s face, making things personal now for Deke. And the cock-blocking Deke pulled makes things equally personal for Wulfgar. The one-upmanship eventually leads to an exciting highjacking showdown on the Roosevelt Island Tram and a crazy cross-dressing twist ending.Continue Reading
Star Trek (2009)
EVERYTHING OLD IS NEW AGAIN There are few things that get remade, revamped, remodeled or resurrected in such a way that actually makes me happy to see/visit it again. The newest take on the Star Trek franchise has made me a happy camper for sure. I blame this on several things actually...
SEVERAL THINGS Director J.J. Abrams, popular television maestro of Alias, Felicity, Lost, and Fringe uses his talents to guide us on this Trek. P.S. - Abrams has commented that he was not a Star Trek fan prior to directing the film.Continue Reading
Star Trek IV: The Voyage Home
We’ll never know for sure, but audiences may have fared better last year if Harrison Ford had directed the fourth Indiana Jones movie. Why not have let Mark Hammil try his hand at helming The Phantom Menace? Most fourth installments have little cinematic merit and do dismally at the box-office (Alien Resurrection, Batman and Robin, if you needed more examples.) So, if you’re a studio executive and you’ve still got three kids from two different marriages to put through college, what can you possibly do to make your third sequel work? Have a completely inexperienced lead actor from the franchise direct it, which is what happened when Leonard Nimoy assumed directorial duties for the second time on Star Trek IV: The Voyage Home, his first proverbial rodeo being Star Trek III: The Search for Spock. And here’s why Leonard could do what Steven, George, Jean-Pierre, and Joel could not: actors who are committed to the franchise have spent years reading scripts by other writers thinking, “If I was writing this, this would be so much better.” They’ve got a cache of ideas to benefit the series, rather than an interloping director approaching the project as an opportunity to put his mark on the franchise. The Voyage Home was the second highest grossing film of the series and a popular film with fans of the TV show and Star Trek neophytes alike.
The film documents a particularly bad day in the history of the Federation. Not only is the entire crew of the Enterprise on trial for disobeying orders and various assorted hijinks (plot remnants from the second and third films), the survival of Earth is threatened by a highly destructive alien probe that only speaks one language: humpback whale. Unfortunately, Earth’s largest mammals became extinct at the end of the 21st century. It looks like the probe’s unintentional annihilation of the planet is imminent, that is until Spock gets a wacky idea to time travel back in time to the 1980s and abduct some Earth whales to bring back to the future so they can tell the probe what it can do with itself, in whale song. The highly likeable middle section of the film takes place in modern day San Francisco and employs the person-from-the-future-out-of-water scenario to great comedic effect. The crew of the U.S.S. Enterprise’s talent for pitch-perfect timing and deadpan delivery is a welcome relief from the depressing eeriness of The Search for Spock. Dr. “Bones” McCoy is back to his sassy self after having spent the entirety of the previous film going crazy sharing his brain with Spock’s immortal soul and the writers allow themselves some political commentary by introducing some Cold War humor via Commander Pavel Chekov’s character. The ensemble’s ease with the material and their characters was undoubtedly facilitated by being directed by one of their own, and the atmosphere of relaxed bonhomie is reminiscent of the quality that made the Rat Pack so popular, but without the misogyny and the alcoholism. If you like laughs, good times, or both, Star Trek IV is a journey to the outer reaches of fun at warp speed.Continue Reading
The Seven-Per-Cent Solution
The opening title card of The Seven-Per-Cent Solution reads: “In 1891, Sherlock Holmes was missing and presumed dead for three years. This is the true story of that disappearance. Only the facts are made up.”
This clever welcoming very much sums up the kitschy and revisionist way the story of literature’s greatest detective is treated. One-time dance choreographer turned director Herbert Ross created a near-brand for himself in the '70s with his theatrical adaptations, with films like Funny Lady and Play It Again, Sam, and Neil Simon scripts including The Goodbye Girl, California Suite and The Sunshine Boys. But it is with this adaptation from the popular novel by Nicholas Meyer that Ross really gets to break away from his more stagebound roots, taking advantage of actual European locations and a very exciting cast to tell this tale of Holmes being treated by Sigmund Freud. (Later he would have success going back to his dancy roots with films like The Turning Point and Footloose.)Continue Reading