Movie Update 9

A couple William Wyler classics and a couple by favorite directors.

Ben-Hur


This was pretty damn good for what is essentially Bible fan fiction, and I liked it more than I expected. Ben-Hur is pretty much the definition of an epic, lasting well over three hours even without its extended overture and intermission, and telling the story of a man whose life has parallels to and intersects with that of Jesus. He butts heads with Rome, he spends years rowing on a galley, and he becomes a successful chariot racer. I'm not sure how I felt about the religious stuff, but it's generally secondary to the film itself, which moves along well despite the length and has a few really good scenes. The chariot race in particular is outstanding. There are obvious moments where the motion is sped up, but it's still a thrilling sequence over fifty years later.

The Best Years of Our Lives


Another Best Picture winner directed by William Wyler. The Best Years of Our Lives is sort of the quintessential inspirational movie. It was made very shortly after World War II, and shows the return of three soldiers to a town in central America; one missing his hands and worried how his family and high school sweetheart will take his new hook prostheses, one concerned that he won't be able to support his wife with no job to come back to, and one older with two kids who has concerns about his bank is treating GIs. They all go through some foibles before it all works out in the end. The important part is the journey, and there are a lot of good scenes in there, with everything from humor to betrayal and budding romance. It seems pretty honest for the time period, and it's a well-acted film in general.

Mean Streets

Martin Scorsese's first collaboration with Robert De Niro was originally conceived as a sequel to Who's That Knocking at My Door? and there are definite similarities. Harvey Keitel plays a similarly self-conscious street tough who balances hanging out with his criminal friends with a troubled romantic relationship, and there's a familiar sort of aimlessness to it. The film is as much about the experience of being in Little Italy as it is about the simple, flimsy plot, and while that may have worked for some, I found it a bit dull a lot of the time. Scorsese just wasn't quite the virtuoso he'd go on to be yet. Still, there's good bits here and there, particularly De Niro's unhinged performance which helped make his career and the ending, which is trademark Scorsese violence in full effect.

Robin Hood: Men in Tights


You know a director has lost his touch when one of his parodies makes Spaceballs look inspired. I don't want to be too harsh on Men in Tights, but the fact is it's not particularly funny, and on top of that it's fairly unoriginal. Pretty much every joke is either something being referenced that didn't actually exist in the film's time period, or just kind of silly. The musical numbers seem awkwardly stitched in, and the entire romantic subplot is basically exactly the same as the one in Spaceballs. The cast is solid, and about the only thing that keeps the movie decently enjoyable instead of completely boring. Cary Elwes basically plays Westley again as Robin Hood, Dave Chappelle is one of his wacky sidekicks, Richard Lewis plays the mildly villainous Prince John, and Patrick Stewart has a solid cameo. Dom Deluise also does a pretty good Brando in The Godfather impression for no real reason. I don't know, I chucked a fair number of times, but I still recognized the movie has highly lacking compared to most of Brooks' earlier work. I wish he had made more movies back when he still had ideas.

Con Air

I still don't really understand Nick Cage. He can be a really good actor when he wants to, but he seems to want to less and less these days. He'll pretty much be in any movie as long as he gets the lead role. Which is why he's here in Con Air, bulked up to hell and back and putting on one of the worst accents I've ever heard. Cage trying to sound southern is just... just an abomination of acting. For some reason though, it works with the rest of the movie. He's surrounded by colorful characters, and if the protagonist was taken too seriously, I don't think the film would be as enjoyable as it is. It's not perfect, but for what it is it works pretty well.

It's one of those slightly older big action movies that at least tries to have an interesting and clever plot - you know, something Hollywood doesn't really try anymore. So Cage is a military veteran who comes home from the service to his pregnant wife, only to kill a man while defending her that night. Because his training has made him a deadly weapon, they throw the book at him and give him 7-10 years for manslaughter. Way to support the troops, legal system. Anyway, at the end of his sentence, he is to be transported by plane to a location for release. Unfortunately there are a bunch of bad dudes on that plane and they manage to take it over, causing a hostage situation in the skies. The revolt is lead by an enjoyably evil John Malkovich, and he's got everyone from a black militant Ving Rhames to a serial rapist Danny Trejo helping him out. John Cusack is in charge of the plane on the ground and is trying to stop it, but he's antagonized at every turn by Colm Meaney as a DEA official pissed that one of his guys got killed, so it's more or less up to Cage to save the day while maintaining his cover as just another bad guy. Also, Steve Buscemi is a serial killer.

So there's a lot of menacing dialogue and somewhat interesting tricks to try to avoid the authorities, and some goofy one-liners from Cage as he sows discord and takes out anyone who might stop him. The plane itself is a major location, but there's also some fun to be had at an abandoned airfield and eventually in the middle of the Vegas strip. People shoot guns and beat each other up and things explode all pretty. There's quite a few holes in the script, but it's fairly solid for this kind of action movie, and it can certainly be a fun time if you don't take it too seriously. I still just don't understand how an Oscar winning actor could butcher an accent so completely. Or how it's wrong for a vet to defend his wife with deadly force but not to chase someone all around Las Vegas with murderous intent. Oh well. Pretty good.