When I heard they wanted to essentially “raise” the ship back into an upright position, I wondered how it would look in a compressed time lapse film.
No need to wonder for here it is, complements of CNN. One of the more fascinating clips I’ve seen in a very long time:
I like actor John Cusack. He’s been in a number of very good films but even when the film isn’t all that good -given the amount of movies he’s been involved in during his very long career, there were bound to be clunkers here and there- he always seems to rise above and rarely fails to give an engaging performance.
So when I spotted The Numbers Station, a 2013 film starring Mr. Cusack on instant view on Netflix, I decided to give it a whirl. I knew little about the film other than it never reached theaters and, because of this, I didn’t expect all that much. Was I in for some major disappointment?
Not really.
To begin with, The Numbers Station is a very low budget thriller. There are maybe fifteen people in total during the film’s runtime that appear on screen. Other than a single exploding car, there are no other “big” special effects.
The movie’s premise is that in this age of easy access to computer data, top secret black ops units employ short radio bursts composed of nothing more than a series of numbers (the codes) to get their next assignments.
These assignments are, it is implied, “dirty” works that usually involve assassination.
At the start of the film we meet Emerson Kent (John Cusack) and Grey (Liam Cunningham). They sit in a car talking to each other when a coded message arrives. After deciphering it, Kent temporarily leaves his partner (and getaway driver) and walks into a sparsely populated bar. He chats with the bartender, who we find once worked for the agency but ran away from it several months before. Kent allows the man to have one last drink before killing him. Kent then takes out the two bouncers/bodyguards but cannot kill the fourth man in the bar. This man manages to get away, but Kent has the license plate numbers of his car.
Thanks to this information, Kent and Grey locate the man’s home. Kent goes into the house and kills the man. He is then surprised when his teenage daughter appears. Kent cannot get himself to kill her and his partner Grey winds up doing this. Thanks to this “botched” job, Kent is no longer viewed as having the “right stuff” for his special ops unit.
Fast forward a few months and we find Grey has moved up in the agency while Kent is on the outside trying to get back in. Thanks to Grey, he is given a second chance, only Instead of being offered his old assassination job, he’s assigned to watch over the other end of the numbers operation. He is to be the security guard to Katherine (Malin Akerman), one of the agency’s code readers. Katherine makes and sends out the numbers from a secure bunker while Kent guards her. When their shift is over, another duo (also woman and man) replacements them. It is clear this duo is a couple and equally clear Katherine is trying to socialize with Kent, though he wants nothing to do with this.
The second day of their shift all appears normal, but they soon find that the bunker has been breached and there are signs that the duo that preceded them may have met a grisly end. Trapped inside the bunker, they have to find a way out while determining if a phony assassination order was sent by their predecessors.
Ok, so there you have the setup and, yes, once again we’re dealing with a “siege” type film. There are other interesting elements thrown in but before you get your hopes up too high, let me say this: The Numbers Station is hardly a “must see” film. What it is is a modest thriller that painlessly killed a couple of hours without making you feel like you completely wasted your time.
There are two things that work against the film and, of those, the low budget is the biggest and worst element. Without giving too much away, we have our two leads being held in the bunker by a decidedly small –very small- force on the outside. It’s hard to get worried about their prospects of survival when facing such an ultimately insignificant force. The second thing working against the film is that Katherine is a really underwritten character. While Malin Ackerman does a decent job playing the character, there is very little to her other than a damsel in distress.
Still, if you’re like me and have a bit of time to kill, you could do worse than catch The Numbers Station.
The one time coin collector in me loves stories like this one:
Never before heard of the 1880 $4 Coiled Hair Stella, but given its rarity -and the fact that this particular example looks to be absolutely mint- it doesn’t surprise me its value is estimated as high as it is.
Not that I’d ever entertain buying such a luxury item! 😉
More information about this can be found here, if you’re curious:
http://www.huffingtonpost.com/2013/09/14/rare-4-gold-coin-coiled-hair-stella_n_3926894.html
I’m always curious to see works by director Danny Boyle.
When at his best, Mr. Boyle creates films that are solid entertainment and well worth watching, such as Shallow Grave, Trainspotting, and 28 Days Later. His latest works, Slumdog Millionaire and 127 Hours, were received well received by critics and did well at the box office. Mr. Boyle would follow those two films with the head-scratching Hitchcock wannabe Trance.
Did he go three for three?
Unfortunately, the answer is no. However, that doesn’t meant there aren’t some things in Trance worth seeing. The acting by most of the principals is good. The direction is interesting and there are scenes that really grip you. The movie’s biggest problem is the story, which unfortunately veers between being unbelievable, silly, confusing, and just plain odd.
Simon (James McAvoy) works at an auction house that sells very high end expensive paintings. During one of the auctions, there is a violent robbery and Simon follows his trained routine to pull the most prized painting to a “safe” area for storage. Once he reaches the safe are drop off, the chief of the thieves Franck (Vincent Cassel) appears and, after knocking Simon out with the butt of his shotgun, runs away with the container he thinks houses the painting.
The thieves get away and meet in their hideout. Upon opening the contain with the stolen painting they find all they have is an empty frame. Naturally they are furious, and it is then revealed Simon was in on the theft all along and the trio of thieves naturally believe he has double crossed them.
The robbery, however, has left Simon with a brain injury. After leaving the hospital, the trio of thieves get Simon and ask him where the painting is. He tells them he can’t remember and they brutally torture him. They soon realize he is telling the truth: He cannot remember what, if anything, he did with the painting. The desperate thieves realize they have to use other means to get him to remember what he did.
To that end, they allow Simon to randomly -or so it appears- choose a hypnotherapist to get to the lost memory. Enter Elizabeth Lamb (Rosario Dawson), hypnotherapist and, we quickly realize, mystery woman who appears to know far more about what is going on than she lets on..
What follows are a lot of mind games between Elizabeth and the thieves and the quest for the missing painting.
Trance features many moving parts, but the central premise, that these street-toughs would willingly allow this hypnotherapist in their midst so willingly is awfully –awfully– far fetched.
I can’t help but suspect that Mr. Boyle was hoping to create a mind-bender of a movie along the lines of Vertigo. But, again, the premise proves too hard to believe to begin with and many of the subsequent revelations -some of which are hallucinations- create difficulties for the viewers to follow.
Is Simon ultimately a pawn (note the character’s name…Simon says?). What is the real relationship between Elizabeth and he? And what is the relationship between Elizabeth and Franck? I understand the use of cues and suggestion but given that some of the sequences we see are nothing more than hallucinations we are sometimes left putting too many pieces together on our own. Note that I haven’t even broached the subject of Elizabeth’s…uh…shaving preferences.
In the end, I have to give Trance a pass. There’s plenty of energy and skill both before and behind the cameras, but the story needed much more work.
One day history will look back at the past couple of years and note a curious little trend: Using historical figures and/or classic literature and injecting horror tropes upon them.
The first (and largest) wave of these works would appear in such novels as Pride and Prejudice and Zombies or Jayne Slayre or Alice in Zombieland. But one of the biggest successes would be the novel Abraham Lincoln: Vampire Hunter.
So successful was this novel that it was made into a film in 2012. The film, however, didn’t exactly set the box office on fire and while the book was considered a well thought out lark, critics scorned and audiences ultimately ignored it.
Did they make the right choice?
In a word: Yes.
Abraham Lincoln: Vampire Hunter is, if nothing else, a handsome looking film with some pretty good CGI effects mixed in with some not-so-very-good CGI effects in the telling of the “real” story of Abraham Lincoln”s (Benjamin Walker) life and how it secretly tied in with his near life-long struggle against vampires.
Having not read the book and going into the film cold, I figured the movie’s makers must be playing this for laughs. I mean, come on…Abraham Lincoln and vampires? There has to be a chuckle or three here, right? Right?
Nope.
The film plays out like a Cliff’s Notes (for the younger among you, Sparkle Notes) version of Abraham Lincoln’s life. We see his early childhood (and first exposure to vampires), we see him as a young man (who happens to be on the prowl for these vampires and is ultimately recruited to be just that), we see him a little later working and studying to become a lawyer while courting Mary Todd (while secretly ridding the town he’s in of vampires), we see his rise in politics (while continuing his fight against vampires), and, finally, we see him as President and discover the “real” reasons behind the Emancipation Proclamation and the “real” reason the United States became embroiled in the Civil War.
And while most of the film was muddled without building much (if any) momentum, it was this concluding segment and climax of the film that really lost me. For in linking such sober -and very tragic- issues as slavery, the massive loss of lives during the Civil War, and even Abraham Lincoln’s loss of his son (to vampires, natch), I developed an acute distaste for what I was seeing.
Perhaps the issues of slavery and the massive losses of life during the Civil War are simply too sensitive a subject to me to be played for such cheesy cinematic camp. Yes, I’ve seen plenty of movies that dealt with tragedies both large and small. However, to link these tragedies with something, frankly, as goofy as vampires felt more than a little distasteful.
Add this to the fact that the film suffers from a lack of any sort of momentum and you have nearly two hours of, frankly, not all that much at all.
A pass.
…at least according to Gary Sussman at Time magazine:
http://entertainment.time.com/2013/09/09/10-greatest-tv-pilot-episodes/
As with many such lists, it is one person’s opinion and I’m certain there will be those who debate the merits (or lack thereof) of the choices. After seeing this list I thought hard about which TV show pilots really gripped me from the very beginning and had me totally sold on the show itself and had me watching until the end.
Lost certainly did this -at least for me- perhaps better than any pilot ever and therefore its inclusion on the list is quite appropriate. Mind you, I’m not saying the rest of the series delivered on that white knuckle thriller of a pilot. If memory serves, the second season in particular -the one that focused entirely too many episodes on the survivors of the rear of the aircraft- was for me a classic case of the sophomore blues and almost had me leaving the show. The final season I didn’t view quite as dimly as others, though I did feel there were more than a few episodes in it that appeared to be there for little more than to string out time.
Still, I was amazed by the pilot of Lost and was stunned that two hours had passed so quickly (the pilot was presented in two parts and aired consecutively on one night).
Three other pilots that had me right off the bat:
The X-Files. The pilot episode of the well regarded series worked so very well because right from the start the rapport/chemistry between David Duchovny’s Mulder and Gillian Anderson’s Scully was there in full force. Granted, the storylines were eerie and quirky and helped sell this particular ride, but it was the interaction between Mulder and Scully, their clear liking for each other even though their views were sometimes very far off, that worked so well.
Miami Vice. Granted we are talking about an older series set in a certain MTV inspired time frame yet it was one that blazed a trail many other shows would follow and improve upon. Regardless, if you were around in 1984 when the pilot episode of Miami Vice aired you saw something radically different from your standard TV fare. Again, the chemistry between Don Johnson’s Crockett and Phillip Michael Thomas’ Tubbs (not to slight the other cast, including Edward James Olmos as Castillo, who would arrive afterwards) proved a draw along with the flashy visuals and action. But what really made this series a head turner at the time was its use of music to accentuate moods, something that so many other shows have mined afterwards but was really used to great effect the first time there…
Finally, the pilot for the 2004 Battlestar Galactica was, to me, a great success. Given the fact that they were up against re-imagining a somewhat nostalgically beloved series and were already aware of (gasp!) switching character sexes and races, there was a very real possibility going into seeing the pilot that things could fall apart quickly. Some say it did in toward the show’s end and I can’t convincingly argue against them…the final minutes of the final episode on primitive Earth and then seeing the “spirits” of two of the characters in modern times was odd and didn’t work as well as I suspect the writers hoped it would. Regardless of how it ended, the show began with a mighty interesting (pilot) bang.
It’s always fascinating to read stories like this, concerning the above:
For those who just want to see the painting and aren’t interested in the fascinating story behind it, here you go:
Found this under the IMDB entry for the film:
When asked why he hasn’t directed a movie since Maximum Overdrive, horror writer Stephen King responded “Just watch Maximum Overdrive.”
I first saw the film when it reached the home video market some time after a weak theatrical outing. I recall when the film was first released the critics were really savage toward it, one even stating something along the lines of “Stephen King is a master of horror. So how did he do in his directorial debut? Horribly.”
Nonetheless, being a fan of the “machines gone homicidal” sub-genre of horror (My favorite of which is Steven Spielberg’s first big splash, the film Duel), I had to give it a look.
At the time I did…and I found it to be a pretty weak film. Since sometime in the late 1980’s or early 1990’s I haven’t seen it again. Until yesterday.
So…what do I think of it now?
Well, let’s face it, Maximum Overdrive isn’t a very good film. But I have to admit it isn’t the complete wreck that I felt it was when I first viewed it. In fact, when viewed in its proper (cheesy) light, there is some fun to be had…
Based on the very downbeat King short story “Trucks”, Maximum Overdrive involves Earth coming into the tail of a comet whose radioactivity causes all manner of machines to come to homicidal life. Almost immediately there is a big glitch here, as a pair of characters, the newly married couple (which includes the voice of Lisa Simpson, actress Yeardley Smith), manage to drive their car for quite a while after all the machines have supposedly come to life.
After a (somewhat) gory opening where we witness the end of the world, we settle upon the patrons of the Dixie Boy truck stop (Included among this group is our protagonist, Bill Robinson, played by Emilio Estevez). The patrons and staff of the truck stop quickly find that they’ve been surrounded by the homicidal trucks and are forced to deal with them and, eventually, escape.
And that’s pretty much all there is to the story. It should become pretty clear pretty quickly that Maximum Overdrive lies in the genre of “siege” films. The trucks outside could easily be George Romero’s zombies or Indians surrounding a fort or any other number of scenarios. Alas, when one makes a siege film, one goes up against some truly great works, from Gunga Din to the original Assault on Precinct 13.
The worst aspects of the film wind up being the script and some shoddy directorial work, both of which were Mr. King’s responsibility. This is a film that in more experienced hands could easily have been far –far– more suspenseful. However, Mr. King’s story is at times very campy while his (for the most part) hillbilly characters are difficult to root for. As for the direction, it does try to go for gore (and succeeds, though we’ve seen worse by now) but never quite delivers the scares promised by Mr. King himself in the film’s admittedly memorable trailer.
Still, I can’t entirely hate the film. It is what it is: an attempt to create a cheesy horror film without any pretensions to a more lofty or classic film standard. Maximum Overdrive is dispensable entertainment, and some might even argue it is little more than a good guilty pleasure.
So yes, while there are far better siege films out there and I recommend them highly over Maximum Overdrive, I’ll also turn around and say that if you’re in the mood for cheesy no-brain entertainment, you could do worse.
P.S.: Intriguingly, the very end of this film was essentially lifted whole in the 2004 remake of Dawn of the Dead. I can’t help but wonder if this was done on purpose.
I spotted the trailer for the film Erased on, I believe, the video release of Solomon Kane. It had me intrigued…
Not bad, right?
So I looked up the film and it was (and still is as of this writing) available on Netflix for instant viewing so I loaded her up and…
Wow.
Let’s face it, one shouldn’t expect much from films that are, as far as I know, not formally released to U.S. theaters and arrive via direct to home video formats. While you may find overlooked gems here and there, the majority of such films are usually features movie studios have looked at and don’t have all that much faith in. Rather than invest (and lose) more money on the work via advertisements for a theatrical run, studios are content with collecting what they can through the home market and moving on to their next project(s).
At best, Erased is a decent -if completely unexceptional- low budget thriller in the Bourne mold. The reliable Aaron Eckhart plays Ben Logan, an ex-pat living in Belgium and working for a high tech security firm. He lives there with his daughter Amy (Liana Liberato, who turns in a good performance as well) who, we find, has only recently moved in with him. Ben left his wife for mysterious reasons which are never entirely explained, though it might have been due in part to his original work and/or a relationship with fellow CIA agent Anna Brandt (Olga Kurylenko). All this is hinted more than outright stated, not that it matters all that much. After Amy’s mother gets sick and dies (more story material that happens off-screen), Ben takes her in but there is friction between them as Amy isn’t all that happy about living in this foreign land and clearly holds her father responsible for the dissolution of the marriage.
Anyway, one day Ben finishes one of his main projects in the company and goes to Amy’s school to pick her up. He’s a little late (something she also doesn’t appreciate) and finds his daughter is hungry. Ben offers her some cookies he’s carrying with him but it turns out there are peanuts in them and Amy is allergic. Off to the hospital they go.
Amy spends the night there along with Ben and, in the morning, they head out. Ben stops at his work for a moment to pick up a package he expected to arrive, but when he gets there the movie’s singular best sequence occurs (you can see it on the trailer): The entire floor is completely empty of everything. All the desks, computers, folders, etc. etc. are gone. Ben can’t understand and goes to the parent company. They have no record of him having ever worked for them. What happened to his company? What happened to his friends and co-workers? What is going on?!
Sadly, what follows from this point is pretty standard stuff. Ben’s company and its staff have been eliminated, and the only reason Ben and Amy are still alive is because they were at the hospital rather than their home the night all the skullduggery went down. Ben is forced to sort through the clues to find what exactly is going on, all while being pursued by his possible ex-lover Brandt. Her allegiances are, until the movie’s last act, never entirely clear.
As I describe the film, it sounds far better than what is ultimately presented. While the “agency-decides-to-eliminate-its-operatives-but-one-gets-away” has been done many times before, it can work well. With Erased, unfortunately, the end result are simply too damned bland. If you find the above plot description intriguing, however, and would like to see a film along these lines, my recommendation is to forget Erased and instead look up the Robert Redford/Faye Dunaway vehicle Three Days of the Condor. Far better film featuring many of the same elements.
Interesting -though far from complete- list by Darren Ruecker, focusing on ten films he feels changed considerably and for the better, via tone or story, in one scene:
http://wegotthiscovered.com/movies/movies-completely-changed-one-scene/
The comments section lists films that Mr. Ruecker missed, one of the bigger being Alfred Hitchcock’s Psycho. If there’s a film that deserves the designation of changing completely with one scene (and a very famous one it was!), then Psycho sure fits that designation. Then again, Mr. Ruecker’s focus appears to be on more recent movies, so anything released more than fifteen years before receives little -actually no- attention.
But the idea of the list reminded me of one of my favorite films featuring a twist that totally changed the direction and my view of the film…for the better.
I’m referring to the 1954 film The Caine Mutiny. If you haven’t seen it yet, don’t let the fact that its an older film keep you away. It is a great drama with an incredible payoff, and a twist that I didn’t see coming at all.
SPOILERS FOLLOW!!!!
For the first half of the film we follow the lives of several young officers are stationed on a training vessel under the command of the increasingly irrational Lt. Cmdr. Phillip Queeg (Humphrey Bogart, in a terrific performance). During this segment we, along with the cast, wonder whether Queeg has, to put it bluntly, “lost it” and is no longer fit for command. Ultimately, during a mission that endangers the vessel and crew, the officers decide to mutiny and take over command of the ship from Queeg.
This, in turn, leads to the film’s second part: the court-martial. For taking over a ship from a commanding officer in the navy is obviously not something one does lightly and it can lead to severe repercussions. It is during this court-martial trial that the mutineers and their actions are put under the microscope and what we thought we saw so clearly in the movie’s first act is subtly -than completely- subverted.
For it turns out that one of the officers, Lt. Tom Keefer (Fred MacMurray in another of the fillm’s incredible performances), is slowly revealed to be nothing short of an agent provocateur, a man who needled everyone into this mutiny and, now that the piper has to be paid, slinks away and tries his very best to not accept any responsibility for his actions. The fact that for most of the movie Keefer is presented as a “good old boy”, a mellow friendly sort who appears, at least on the surface, is a caring, engaging person but one who is ultimately revealed to be a despicable rat is an incredible change…made all the more amazing because when the realization hits, we as movie goers can’t help but look back at the movie and realize the evidence of his being a rat was there all the time.
The Caine Mutiny is a classic film that justifiably deserves its place among them. A terrific piece of work that surprised and delighted me with its mind bending (yet logical) shift from first half to second.