The end is near--but not near enough

"End of Days"
Overall Rating: *½


The new millennium is a little more than a year away, but it's bringing a great deal of hysteria with it. Not learning from the fact that the world didn't end in 999, 1000, or 1001 AD (or any of the other years it was "supposed to" end), and egged on by fears of computers frying themselves due to shortsighted programming, there is more than enough "end of the world" panic to go around. You didn't need to be a prophet to predict that film studios would try to capitalize on this. Though it was really about newly rediscovered writings of Jesus, "Stigmata" tried it's best to look apocalyptic in its previews. Since then, I've seen three movies where the world at least teeters on the edge of apocalypse: "The Omega Code," "Dogma," and, most recently, "End of Days."

"End of Days" opens with great concern in the Vatican over a an omen that predicts someone's birth--and the officials can't decide whether to protect her or kill her. We then see the birth of a girl, whom the hospital nurse promptly takes down to the morgue for a strange, satanic ceremony. Twenty years later, on December 28, 1999, a ominous force takes control of an investment banker (Gabriel Byrne). The banker promptly grabs a woman's breast while kissing her--in the middle of a crowded restaurant--then walks out of the restaurant, which blows up as he leaves. When a mysterious priest tries to kill this banker, his bodyguard, an atheist ex-cop named Jericho Cane (Arnold Schwarzenegger), becomes embroiled in the supernatural battle of the millennium.

"End of Days" is adequate as long as you don't think about it; the pace is fast enough, and it has enough scary scenes that I didn't examine it too closely until it was over. It also has some top-notch stunts and special effects: the scene in Cane's apartment where Cane is fighting his former employer--who he realizes is Satan--is particularly well done, for instance.

Unfortunately, the filmmakers also have several scenes that are woefully underlit; their attempt at a dark look often ends up as a hard-to-see look. Then there are also some scenes with Satan--when he isn't possessing someone--that have a very computer-animated look to them--in a better movie, this might have been easier to overlook, but "End of Days" depends on its effects.

Aside from these filmmaking problems, the filmmakers also hit a general pet peeve of mine: there was no year zero, so the new millennium doesn't start until 2001; I'm already sick to death of the people getting this wrong, so constantly hearing this movie's characters--including priests who should know better--refer to 2000 as the new millennium was like fingernails on a chalkboard. This mistake was only the start of a long list of problems. For instance, after a Jericho asks a priest when the millennium will actually end (with reference to the time zone issue), he is told that it depends on star configurations--later in the movie, we learn that this means that Satan operates on Eastern Standard Time. We don't even get an absurd explanation for the priest who cut out his own tongue--we never learn how he talked. The filmmakers also fail to explain why Satan chose Christine York (Robin Tunney)--the character born at the beginning--as his mate, or why, when she's been having nightmares of being raped by him all her life, she thinks she might simply do what he wants. From little things such as why the Catholic Church sent a Polish peasant with stigmata wounds to New York, to big things like the number of Satanists (about four out of five New Yorkers, if you believe this movie), "End of Days" has plenty of unanswered questions.

While not intelligent enough for adults, "End of Days" is also unsuitable for children. It has copious strong language, frequent references to alcohol and drug abuse, near constant and often bloody violence that's sometimes committed by priests, and strong, pervasive sexual content with some nudity. Parents should also be aware that while some elements of the book of Revelation are alluded to, the movie isn't a Biblical adaptation.

I thought director Peter Hyams' previous effort "2010" was very good, and his "Timecop" was adequate, but "End of Days" is a completely different story: it's highly appropriate that "End of Days" came out on Thanksgiving weekend, because it's a turkey of apocalyptic proportions.


Title: "End of Days"
Release date: November 24, 1999
MPAA rating: R
Overall rating: *½
Aprox. run time: 121 min.
Director: Peter Hyams
Writer: Andrew W. Marlowe
Stars: Arnold Schwarzenegger, Gabriel Byrne, Robin Tunney

Original URL: http://www.geocities.com/reviewsbyjohn/EndDays.htm
Added to blog site: 7/27/09 (with minor editing)

20 is not enough

"The World Is Not Enough"
Overall Rating: ****


James Bond is a cultural icon. Everyone knows the catchphrases "Bond, James Bond," and "shaken, not stirred"--evidence of the character's popularity. There have been 20 Bond films (21 if you count "Casino Royale"--the Bond spoof before they invented "Austin Powers") over the past four decades. While I find it a little difficult to be objective about the latest installment--James Bond films being a beloved part of my childhood--I thought that the latest effort, "The World Is Not Enough," lived up to the franchise in every way.

Why does anyone see a Bond film? Mainly for the nifty gadgets, the stunts and special effects, and the shallow violence in exotic locales. In "The World Is Not Enough," for instance, when, James Bond (Pierce Brosnan), meeting with a banker in Spain as part of a routine errand, finds himself in an ambush, he manages to shoot his way out of it handily. Almost as soon he gets back to London, a bomb explodes in MI6 Headquarters. This doesn't faze Bond, who takes Q's (Desmond Llewelyn) latest rocket-propelled boat, and chases the evil agent down the Thames--finally, after considerable destruction, crashing into the Millennium Dome. This is all in the first fifteen minutes.

The plot is perfectly adequate: enough twists and turns, but not very original. The filmmakers borrow liberally from numerous earlier Bond movies--throwing in a "terrorists have a nuke" element. It works here--the fact that it worked years ago explains why they're doing it again. Another flaw in the writing is that while this is science-fiction, most of the science is fiction. (My advice: don't issue a life insurance policy to anyone who handles plutonium the way the characters of this movie do.)

Is there any kind of enlightened philosophical content? You're kidding, right?

If you go to "The World Is Not Enough"--or any James Bond movie--looking for a cerebral experience, you'll get just what you deserve. To give them some credit, the villains in this movie are a little more complex than the typical Bond villains--one of them actually does a small, good deed before trying to kill millions for personal gain. There's also a subtle classical allusion--albeit a slightly flawed one that may be missed by most of the audience.

Still, the real reason to see "The World Is Not Enough" is the traditional James Bond action. Bond goes to exotic locations (in this case, Bilbao, London, Baku, and Istanbul), and blows stuff up. He spends much of the film shooting people and destroying things in the best action-film style. All the neat gizmos are here, for both Bond and the villains; I especially liked the flying snowmobiles. We're also treated to a generous helping of the double entendres and bad puns (why else have a nuclear physicist named Christmas Jones?). The result may be hollow entertainment, but it's enough to justify $7.00 movie tickets.

The actors in "The World Is Not Enough" do their part to keep things moving. He's not my favorite Bond yet (despite the majority opinion, I'm undecided between Moore and Dalton), but Pierce Brosnan certainly does a great job in this installment. Sophie Marceau delivers a very strong performance as Elektra. Judi Dench, who also played M in the two previous Bond movies, delivers an excellent performance in this one--bolstered by a much larger part than M usually has. Also, Desmond Llewelyn, reprising his role as Q for what seems to be the final time (though not definitely--they left it open) keeps pace, providing his usual witty repartee right along with the arsenal.

"The World Is Not Enough" is rated PG-13, but it definitely pushes the envelope. The violence, the sexual content, and the nudity are all very close to what you'd expect in an R-rated film. This is probably less of a family film than any of the earlier efforts.

"The World Is Not Enough" is certainly as exciting as its predecessors. It has everything you look for in a Bond movie, and is one of 007's better appearances. While some films are like great works of art or high drama, the James Bond series has always been more like roller coaster rides. This ride has all the thrills you could ask for.


Title: "The World Is Not Enough"
Release date: November 19, 1999

MPAA rating: PG-13
Overall rating: ****

Aprox. run time: 128 min.
Director: Michael Apted
Writers: Neal Purvis, Robert Wade, Bruce Feirstein
Stars: Pierce Brosnan, Sophie Marceau, Denise Richards (plays Dr. Christmas Jones), Judi Dench

Original URL: http://www.geocities.com/Hollywood/Mansion/7045/Bond99.htm
Added to blog site: 8/5/09

Divine comedy

"Dogma"
Overall Rating: ****




Recently, I described "Jakob the Liar" as a cross between "Life is Beautiful" and "Good Morning, Vietnam." Last week, I described "The Bone Collector" as a mix of "Rear Window," "Seven," and the TV show "Quincy." This week, we have "Dogma:" this film is the strangest mutant hybrid of them all: part "Stigmata," and part "Mallrats"--or any Kevin Smith comedy, though it's easily the best of the whole Jay/Silent Bob series.

"Dogma" opens with a series of events that seem only barely related. There's the strange attack by three teens on an apparently homeless man (Bud Cort) on a New Jersey boardwalk. These three will soon prove themselves to be demons disguised as teens--for they help the fallen angel Azrael (Jason Lee) to kill the occupant of a suburban home, and make it his headquarters on Earth. This doesn't seem to have any bearing on Cardinal Glick (George Carlin), who, using an archaic doctrine to enhance a rededication ceremony for a church, offers absolution to anyone who enters the church. However, this rededication ceremony is of great interest to Loki and Bartleby (Matt Damon and Ben Affleck respectively)--a pair of fallen angels who see this absolution as their ticket back into Heaven. Meanwhile, Bethany (Linda Fiorentino), a lapsed Catholic who now runs an abortion clinic, is just the person to stop them--if she can find two prophets and the lost, thirteenth apostle.

To describe "Dogma" as irreverent isn't accurate, though the movie's views on religion are definitely unconventional and humorous, and the controversy surrounding it is understandable. I'm sure that some people won't like the fictional Cardinal Glick trying to make the Catholic Church trendy. I'm equally sure there are many people who won't like the movie's constant insistence that God isn't too choosy when it comes to religion and that no one doctrine is correct. Nor will the film's assertion that God has a sense of humor find universal appeal. Throw in a depiction of a God who is not completely omnipotent, and Who sometimes chooses to be a Woman, and writer/director/co-star Kevin Smith had a sure bet on offending many people--despite his apparently sincere religious convictions (which extend to thanking God in the credits) and his depiction of God as benevolent.

But if you don't find the film offensive, you'll probably find it hilarious. Only "Dogma" would depict fallen angels as being condemned to spend eternity in Wisconsin. Only here would someone, confronted with a non-consuming fire (a la the burning bush, except indoors), respond with a fire extinguisher. Only in this film would you see God (played by rock singer Alanis Morissette) do a headstand. No other film would dare cast comedian Chris Rock as the lost, thirteenth apostle Rufus. For the not-so-easily offended, from disclaimer to credits, the film is almost constant laughs.

The big-name cast, though obviously highly unconventional, is universally wonderful. Who stands out? Jason Mewes and Kevin Smith are both excellent as Jay and Silent Bob; the two famous characters play a more prominent role here than in the previous films, and the actors easily keep pace. Linda Fiorentino is also very good as Bethany--who has to resolve her crisis of faith, and put up with Jay. Matt Damon and Ben Affleck are the best as the fallen angels. Both characters--who are almost always on-screen together and often play off each other--go through a significant transformations--Damon and Affleck handle their roles perfectly. And, as an admitted Alanis fan, I have to add that she was good as God--a role that didn't involve any spoken lines.

"Dogma" isn't perfect, even to this enthusiast. There's a reference to a "package"--but if there was an explanation of what that package was, I missed it. While, as a train buff I found it appealing, I have no idea why all the characters--when in a desperate hurry to get from Illinois to New Jersey--invariably choose ground transportation. Throw in a character who is inexplicably wounded, and one place where the film might have been too predictable (I'm still undecided on that point), and the result is a frustrating number of minor loose ends.

Aside from the unconventional theology, parents should also be aware that "Dogma" has copious strong language, plenty of sexual references, numerous drug references, and several very violent scenes.

If you stay for the credits, you'll get to hear one of the jokes again. You'll also find out that Jay and Silent Bob will return in "Clerks 2."

Despite its lofty subject matter, "Dogma" is a successful comedy. It's been a long time since I've seen a funnier movie.

Title: "Dogma"
Release date: November 12, 1999
MPAA rating: R
Overall rating: ****
Aprox. run time: 128 min.
Director: Kevin Smith
Writer: Kevin Smith
Stars: Matt Damon, Ben Affleck, Linda Fiorentino, Chris Rock, Jason Mewes, Kevin Smith

Original URL: http://www.geocities.com/reviewsbyjohn/Dogma.htm
Added to blog site: 7/27/09

Autopsy report for "The Bone Collector"

"The Bone Collector"
Overall Rating: ***


On the whole, "The Bone Collector" is a decent suspense film. Imagine mixing "Rear Window," "Seven," and the old TV show "Quincy," and you'll got some picture of "The Bone Collector." Of course, "Rear Window" and "Seven" are both much better movies--so "The Bone Collector" doesn't really help its case by reminding you of other directors' past triumphs. Nonetheless, it has it's moments.

Lincoln Rhyme (Denzel Washington) is one of the foremost experts on forensics in the country; he is not only the author of a dozen books--including the manual used in the police academy--but he is one of the New York Police Department's top forensics detectives. His stellar career seems all but over, however, when a beam falls on him--leaving him both paralyzed and subject to seizures. Fearing his condition--which doctors say will get worse, leaving him in a vegetative state--he makes preparations to commit suicide. However, when a particularly strange murder scene is found, he resolves to solve one last case, assisted by the young beat cop, Amelia Donaghy (Angelina Jolie), who preserved the important clues.

The selling point for "The Bone Collector" is definitely the cast. Angelina Jolie is good, as is most of the supporting cast. Queen Latifah, who plays Rhyme's nurse, Thelma, handles that role perfectly. Thelma is no nonsense, but compassionate towards Rhyme--Latifah delivered an excellent performance in a key role. The star, however, is clearly Denzel Washington. I've been sold on his abilities since "Malcolm X," and he doesn't disappoint here. The role is made more difficult by the fact that Rhyme is bedridden for most of the movie; Washington effectively uses his character's limited movement, giving his strong-willed character a commanding presence--all from a hospital bed. He manages the difficult role brilliantly.

The filmmakers also deserve credit. Rhyme's limited movement could have wound up being a serious limit on the whole movie. The filmmakers avoid Rhyme's limitation the way he does--Donaghy investigates the murder scenes, staying in radio contact with Rhyme; by shifting back and forth between the two, the problem is effectively solved. The movie also manages to build suspense most of the time. Often, you know a character is with the serial killer before that character does--and you wonder if the character will escape. There are also several scenes where the filmmakers use innocuous events to scare the audience: an old trick, but it works. The filmmakers also deserve credit for their handling of the forensic science: it could easily have become either too technical to follow, or too elementary to present credible problems for the characters. Fortunately, the writers maintain the balance, creating confusing problems for the characters, but not for the audience.

However, while "The Bone Collector" promises to be a great movie, it's only decent. For instance, while the film promises serious discussion of the issue of assisted suicide, it instead drops the subject almost as soon as it's brought up. The worst flaw, however, is that the end is a big letdown. A key conflict hinges on events that are discussed at the end--but never even alluded to prior to the climactic scene. The effect is a climax that comes out of nowhere. This problem is compounded by a character transformation that doesn't make complete sense (someone says something to this person that may have inspired the change, but it's not really shown). Worse still, I was able to predict the ending--I missed some of the specifics, but I don't think there's much doubt about what will happen to the criminal; this undermines the suspense that the filmmakers build earlier on. Nothing is left unresolved, but the last thirty minutes don't live up to their buildup.

Parents should almost certainly screen "The Bone Collector" before taking children. There is ample strong language. The main concern, however, would be the depiction of the serial killer's work. There are several on-screen murders, and the depicted crime scenes are extremely gory.

"The Bone Collector" should have been much better. It starts out as a good suspense film--but concludes with a trite ending. Very good actors give good performances--but play stock characters. It's worth seeing if you already wanted to, or if there's nothing that grabs you at the video store--but there are better films to examine.


Title: "The Bone Collector"
Release date: November 5, 1999
MPAA rating: R
Overall rating: ***
Aprox. run time: 118 min.
Director: Phillip Noyce
Writers: Jeremy Iacone, Jeffery Deaver (novel)
Stars: Denzel Washington, Angelina Jolie, Queen Latifah


Original URL: http://www.geocities.com/reviewsbyjohn/Bone.htm
Added to blog site: 7/26/09

Holy Terror

"The Omega Code"
Overall Rating: **


One commentator described "The Omega Code" as "The Blair God Project." The similarities to last summer's hit "The Blair Witch Project" are striking. "The Omega Code" was made outside the Hollywood system--by the Trinity Broadcasting Network--with a low (by Hollywood standards) budget, and promoted unconventionally. Sadly, while these conditions produced innovative results in "The Blair Witch Project," we aren't so lucky with "The Omega Code."


When "The Omega Code" opens, we witness the murder of Rabbi Rostenberg, a biblical scholar. The murder is in no way ordinary, for Rostenberg, searching for prophesies in hidden codes in the Bible, foresaw his own death and concealed his work from his killer--work recovered by two mysterious men who later confront the murderer. All this seems to have little direct bearing on Dr. Gillen Lane (Casper Van Dien), a popular motivational speaker who is obsessed with the codes that Rostenberg was studying. Lane, however, will soon catch the attention of Stone Alexander (Michael York), a prominent European politician and media tycoon whose mere presence seems ominous.

Michael York is the real star of the cast. York had the challenge of making Alexander both charming and sinister. His performance succeeds on both counts. The crowning touch is the most subtle: his pronunciation of the word "evolution," pronouncing the first two syllables like the word "evil"--here, it reinforces his character's anti-religion nature. (I'd also note that the character uses the word frequently.) Michael York is excellent in his malevolent role.

The big problem is the film's presentation. "The Omega Code" is often very confusing. For instance, there's one place in the film where the dialog seems to allude to the passage of three and a half years--but the text on the screen just before that sequence reads "one year later." Then there's the sequence that explains what happens to Lane's wife and daughter: it ends in a dream sequence--or maybe not; whether the character was dreaming or was simply deluded is not clear--though either way, it leaves the fate of Lane's family up in the air. Nor does Lane's disbelief in God, but belief in hidden codes in the Bible make much sense. Aside from the confusing elements, the film has a very preachy feel, with stretches where the film plays more like a sermon than entertainment. For instance, at the opening of the film, Lane is about to get a divorce. Lane has a wife and child, but puts his career ahead of them; their main function in the film is a manipulative subplot--but it doesn't go anywhere; frustratingly, the family drops out of the movie completely when Lane's career shifts from motivational speaking to fighting the Antichrist.

The film also has problems in the special effects department. The majority of the special effects are well done. Most of the time, the film maintains a sharp look. The problem is the few times it doesn't. When the effects look computer generated, they look extremely animated. Between the importance of those scenes, and the contrast with the majority of the film, this is a serious lapse.

Any parents thinking of taking children to see "The Omega Code" should definitely screen it first. The usual suspects are absent: I didn't catch any strong language, there is very little sexual content, no nudity, no drug content, and the violence is extremely muted for a modern film--there are some on-screen murders, most of them bloodless like those in old movies. The theological messages are the big concern. The film, depicting events from the Bible--specifically, the books of Daniel and Revelation--includes scenes where the Antichrist pretends to be God. Parents may also be concerned that the film depicts the Apocalypse as taking place in the near future. "The Omega Code" also portrays many non-Protestant religions as aligning themselves with the Antichrist--the Catholic Church being especially prominent among these.

I had high hopes for "The Omega Code." It held the promise of a fresh artistic voice. Unfortunately, the fresh voice winds up delivering an incoherent sermon.


Title: "The Omega Code"
Release date: October 15, 1999

MPAA rating: PG-13
Overall rating: **

Aprox. run time: 100 min.
Director: Robert Marcarelli
Writers: Stephan Blinn, Hollis Barton
Stars: Casper Van Dien, Michael York, Catherine Oxenberg (plays Cassandra), Michael Ironside (plays Dominic)

Original URL: http://www.geocities.com/Hollywood/Mansion/7045/Omega.htm
Added to blog site: 8/3/09