Showing posts with label wesley snipes. Show all posts
Showing posts with label wesley snipes. Show all posts

Passenger 57 (1992) Review

Passenger 57 (1992)
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Synopsis:
John Cutter (Wesley Snipes) is an airline security expert who is just getting back into his groove after the tragic murder of his wife. On his way to a meeting with airline executives in Los Angeles, the plane he is on is also occupied by international terrorist Charles Rane (Bruce Payne), escorted by the FBI. But things don't go as planned as Rane escapes and hijacks the plane. Cutter, along with an unsuspecting stewardess (Alex Datcher) must try to stop him before more people die.
About the Movie:
This is a movie that I initially really enjoyed, but after seeing it a second time a number of years later, I'm not so certain about any more. It's definitely nothing original as far as airplane disaster movies go, especially compared to the host of airplane hijacking movies that have come out in the past decade.
One of the main problems is that it needed to be better composed as far as its main characters. The movie makes great pains to reveal to the viewer that Cutter's wife was murdered and he is gun shy about working in counter-terrorism. I rather liked this element of the film because it made him less of a paper cutout action hero. Unfortunately, apart from one or two short sequences, the movie doesn't follow up on this background all that well and chances to develop the tension between him and the female lead are missed completely.
The movie is 84 minutes long. For the expense of an extra 10 minutes a lot could have been done to follow up on all that character development later in the film. It's a real shame that they didn't, because the female lead in this film fares rather poorly, existing mainly as an eye-pleaser and a woman to squeal when harassed by the terrorists.
On the acting side, Wesley Snipes is his usual self, manly and in charge. He does nothing new here. The villain, played by British actor Bruce Payne, comes of exactly like he's supposed to be, psychotic. Payne does a decent job in the role, though in all honesty, he really isn't given much to work with to make him stand out. The same goes with the female lead, played by Alex Datcher. Her character as Snipe's love interest, as mentioned earlier, is hardly fleshed out at all, leaving the actress with very little to make her memorable.
Interestingly, this movie happens to have Elisabeth Hurley in it in a role you wouldn't expect her to play. It's a shame that her role wasn't fleshed out more because a more dynamic character to work with in such an atypical role for her might have been entertaining. As it is, she's totally unexciting.
On the action side, Passenger 57 has everything you'd expect in a Wesley Snipes film, from cheesy one-liners to gratuitous action sequences. There are some pretty good action sequences in this film, including one where Snipes climbs from a speeding car onto the landing gear of an airplane that's taking off.
Of course, there are some cheesy and clichéd sequences too, like the confrontation he has with a couple of redneck sheriff's deputies. It makes it seem like they're discriminating against him because he's black, a plot element that has been so over used in movies as to make one's eyes roll. There are a number of bits like this.
All in all, this isn't a terrible movie. It could have been better written, but the action scenes can be entertaining. It won't stand up against some of the other airplane hijacking movies out there (Executive Decision and Airforce One, to name two), but it does have it's high points.
About the DVD:
Passenger 57 comes in a cardboard snap case on a double-sided DVD with both fullscreen and Widescreen versions of the film in Dolby Digital 5.1 sound. The image and sound are about average for a budget DVD such as this one. The movie is translated into French and has English, French and Spanish subtitles.
As far as special features, this one has what appears to be something that is becoming standard on Warner Brothers budget DVD releases. They include 9 theatrical trailer for other films and a series of textual production notes that provide background on the movie, cast bios and notes on the airplane hijacking movie genre. They're interesting to read, but not nearly as nice as real special features like documentaries would have been.
Bottom line is that this is an average movie on an average DVD release. 3 stars.

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SECURITY AGENT CUTTER STEPS INTO THE PLANE LAVORATORY AND REEMERGES TO FIND A HI-JACKING IN PROGRESS. RELYING ON HIS COOL CUNNING AND HIS STREET LETHAL MARTIAL ARTS MOVES, HE DEFIES THE HI-JACKERS IN A RUNNING CAT AND MOUSE BATTLE IN THE AIR.

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King of New York (Special Edition) (1990) Review

King of New York (Special Edition) (1990)
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Some way into Abel Ferrara's 'King Of New York', two gangsters conspire in a small cinema showing F.W. Murnau's 1922 horror classic 'Nosferatu'. Playing the scene where the vampire disembarks his corpse- and rat-ridden ship docked in England, it has clear reference to Ferrara's protagonist, Frank White (Christopher Walken in one of cinema's great, mercurial performances), a drug-smuggler recently released from a long period in prison, hoping to reassert his local criminal power. White refers to his return as 'coming back from the dead', and Walken's long, haunted figure and dancer's movements have some of the aristocratic grace of a famous screen Dracula, Christopher Lee. Mostly seen at night, he gathers new recruits (fresh blood) around him to 'feed' on. One remarkable shot, after a prolonged sequence of speedy violence, has him lit so his eyes shine like some haunted undead; another has the camera following him through a railway station until it is stopped by bars - it can only impotently watch as White glides up the stairs to be swallowed by the night. The film even has as one of his opponents a cop played by future vampire-slayer Wesley Snipes.
But the 'Nosferatu' allusion points to something else - Ferrara's strange absorption of silent cinema. In terms of content, 'King' is a gangster film like any other: loud, ugly, violent, brutal, lurid, hysterical. But it has a purity and beauty very different from the stylised melodramas of Martin Scorcese, whose equally bloodthirsty 'Goodfellas' came out in the same year. The first ten minutes is an astonishing, virtually wordless, visual tour-de-force, not simply presenting the main character, his situation and environment, but introducing symbolic motifs that are all the more powerful for being real, a part of Frank's world, and not simply imposed. Bars and grids (in prison, gates, bridges etc.) are the most prominent, signifying initially Frank's literal imprisonment, then his difficulties with the law and fellow criminals, and his frustrated ambitions (including a Guiliani-like zero-tolerance programme to clean up the streets), but eventually, as we might expect from a Ferrara littering his film with religious iconography, something much more metaphysical, outside the confines of genre (hence the references to Melville).
After this, there is a lot of talk - noisy, profane, funny, aggressive, threatening - but the best sequences retain this silent aesthetic: the night-club double cross leading to a car chase and man-hunt under a bridge; a police funeral in which a limousine hit provokes the scattering of black-clad, bankside mourners; the 'Le Samourai'-like subway confrontation between gangster and cop [although the film's very greatest scene, Larry Fishburne's Jimmy Jump ordering fast food just before being busted for murder, depends for its effect on the conflict between talk and silence, his bluster oblivious to the soundless arrests playing out behind him]. The use of huge, intense close-ups recall the emotional silent era, as does Ferrara's camerawork, more deliberate and heavy than Scorcese's flash pyrotechnics. The staging of set-pieces is as artifical as Murnau's setscapes in 'Sunrise'; the underworld carnival is more Celine than Scorcese. Even the use of blue filter in key scenes is less a signifier of atmosphere or artifice than a nod to the practise of 'colorising' monochrome silents.
By employing this style from a period he clearly loves, Ferrara is able to inject a spirituality and ceremonial gravitas not immediately apparent in the crudity of the genre subject.

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KING OF NEW YORK:SPECIAL EDITION - DVD Movie

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Demolition Man (1993) Review

Demolition Man (1993)
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Demolition Man is one of those rare action flicks that seem to have intellegence beyond the guns and explosions. Sylvester Stallone plays John Spartan, a reckless cop who has made it his mission to bring down his arch-enemy Simon Phoenix. Phoenix is a crime lord who has kidnapped 30 bus passengers. John Spartan rushes in and attempts to save them and apprehend Phoenix, but the passengers apparently die in an explosion set by Phoenix. John Spartan is arrested for the deaths of the passengers and charged with involuntary manslaughter, and both men are sent to a cryogenic prison, and frozen. But decades later in the year 2032, Phoenix escapes, and all hell breaks loose.
The world has become peaceloving, and there are no more violent weapons on the streets, and physical contact of any kind is frowned upon. So you can imagine the kind of time a criminal like Phoenix would be having. The only way to stop him is to thaw Spartan, and soon the 2 enemies go at it all over the futuristic city of San Angeles. Sandra Bullock also stars as the cop who becomes the partner of Spartan in the future, and she starts to question everything she has been brought up to believe in.
This is where the film becomes an intellegent satire as well as an action film. The future, while bright and crime-free, has left the world without freedom. Salt, red meat, and even sex has become illegal. The police encode chips into peoples hands so they can keep track of them wherever they go. But once Spartan is released, he takes an immediate disliking to the brave new world. Interlaced in all of this is plenty of humor in the dialogue, as Stallone's character does and says things that freaks out the people around him who have never seen behavior like that before. As for the action, this film has some incredible action scenes. There is a brawl between Phoenix and Spartan on a futuristic highway going 70 miles an hour, and plenty of shootouts. This DVD doesn't offer much in the way of extras, but there is a good commentary by the director, and standard/wide picture sizes of the film, and a trailer. One of the best action movies of the 90's, right up there with T2.

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A 20th century cop is awakened from his deep freeze imprisonment in 2032 in order to capture an escaped felon from his own century whose violence threatens the peaceful future social order.Genre: Feature Film-Action/AdventureRating: RRelease Date: 3-JUN-2003Media Type: DVD

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