The Saint (1997)

There are many films you could choose to watch if you're in the mood to remember the great talent of the late Val Kilmer, who we lost just a couple of weeks ago, but I decided to finally watch The Saint. Having not given it much thought throughout the decades since it was released, I picked up a digital copy of the movie ages ago for less than the price of a cup of coffee. Now seemed as good a time as any to finally get around to watching it. 

Kilmer is the titular character, AKA Simon Templar AKA a variety of false names always referencing saints. He's a master thief, as well as a master of disguise, and aiming to hit the magic number of $50M in his bank account to afford him a relaxing life of retirement. That's why he takes on a lucrative job that requires him to steal the ground-breaking work of Dr. Emma Russell (Elisabeth Shue) and help a powerful Russian (Ivan Tretiak, played by Rade Serbedzija) monopolise the modern miracle of cold fusion. Things are complicated by pesky feelings though, and it becomes clear that Mr. Templar will struggle to get to the end of this particular adventure with his halo intact.

There's some talent here, certainly when it comes to the people behind the camera. Writers Jonathan Hensleigh and Wesley Strick have been responsible for a wide variety of films that, whether good or bad, have often been interesting, at the very least. Director Phillip Noyce can do tension and intelligent thrillers, and was coming off a great run of features helmed between the late '80s to the mid-1990s, but none of his skill is on display here. It's obvious that the script isn't strong - it's muddled, lacking action, and even fails to make Templar appealing beyond the natural charm of Kilmer - but very disappointing that Noyce couldn't figure out how to create something that would be able to distract us from that big problem.

Kilmer cannot carry the film alone though, but he's forced to. As much as I enjoy her work, Shue is not served well by having to portray someone smart enough to turn the theory of cold fusion into a reality, yet also silly enough to be taken in by Templar in one or two of his more ridiculous disguises. She needs to be both the valuable "asset" and the standard love interest, although I will admit that it was a pleasant surprise to see a third act in which Kilmer's character only survives thanks to her assistance. Serbedzija is stuck playing a dull villain, in line with the dullness of almost everything else in the movie (from the visuals to the other characters), Valeriy Nikolaev gets to have a bit more fun as the angry son/henchman, and Alun Armstrong, Tommy Flanagan, and Emily Mortimer all appear onscreen just long enough to look slightly embarrassed about being there.

There's a decent score from Graeme Revell, although even that pales in comparison to a soundtrack that includes tracks from Sneaker Pimps, The Chemical Brothers, Daft Punk, David Bowie, and Orbital (delivering a superb reworking of the familiar theme tune), and a couple of nice moments just before the end credits roll that will leave you wishing that the rest of the film played more into the iconography of the character. That's all I can compliment though, aside from Kilmer. 

3/10

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Real Genius (1985)

Val Kilmer plays Chris Knight, a genius student who is working on a project that he doesn't realise wants to make a laser usable in a sophisticated and dangerous weapon. Chris is tasked with taking young Mitch Taylor (Gabe Jarret) under his wing. He wants to help academically, but also wants to remind everyone to not take everything so seriously. Chris has seen how stress and obsession can affect people, and he wants to help people maintain a good balance. That doesn't always work for Professor Jerry Hathaway (William Atherton) though. It also doesn't work for the prime douchebag, Kent (Robert Prescott).

Directed by Martha Coolidge, who has a filmography full of interesting movies that I have always been meaning to check out, Real Genius is an enjoyable '80s teen comedy that has the expected mix of fun characters, archetypes, and dialogue without the usual obsession over girls and nudity. You get some early moments with Val Kilmer wearing deely-boppers to highlight just how much he doesn't want to take life seriously, you get some pranks, and you get a final act that allows plot strands to be tied up, set-ups to be paid off, and the slightly serious stuff to be dealt with in a way that intertwines the humour with some serious stakes for those involved. 

Writers Neal Israel, Pat Proft, and Peter Torokvei know what is expected, and they provide some standard moments and gags wrapped in the clothing of these onscreen geniuses. Whether it's the battle of wits between the new kid and the bully, the potential blossoming romance between a couple of main characters, or the strange loner who sees things that nobody else does . . . Real Genius entertains on a trope-filled, teen comedy level, yet adds a layer of smarts that allows it to stand out from the crowd.

Kilmer is a force to be reckoned with, superbly charming and charismatic. Although Jarret is playing the main character, and the way for viewers to meet this cast, it's Kilmer who is the lead. Jarret does well though, he's likeable enough and happy to let others around him shine. Atherton gives another one of his great turns, smiling at his students until things look to be no longer going his way, and Jon Gries is very amusing as the strange loner named Lazlo. Kent may be the character you're supposed to boo and hiss at, but Robert Prescott does well in that role. And then you have Michelle Meyrink, playing Jordan, a young woman with plenty of brains who lacks confidence in herself, and also lacks confidence in her social skills.

It's quirky and clever, but not too quirky and clever for its own good. Having seen this listed by many people over the years as a favourite comedy from this decade, I'm glad I finally checked it off the list. And even more glad that it was as good as many told me it was.

9/10

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Shudder Saturday: The Thaw (2009)

The Thaw isn't a bad movie. Not really. It's just too derivative, and doesn't do enough with the main premise, to become a truly good movie. If more characters had been thrown into the mix, leading to more moments of peril, and if the ending didn't feel so silly then it could have been an excellent little horror flick that would make viewers itchy in between moments of extreme unpleasantness.

Val Kilmer plays Dr. David Kruipen, a research scientist who makes an astonishing, and terrifying, discovery while working in the Canadian Arctic. Unfortunately, that discovery takes place just before he is due to be joined by a group of "lucky" students AND his disgruntled daughter. When the youngsters arrive at the main camp, they find it unsettlingly quiet. I would say it was uninhabited but, in all honesty, something is still residing there. Lots of little, dangerous, somethings that have defrosted and are looking to continue their normal life cycle.

There are plenty of movies I could name here that cover similar territory to this, but with better results. The Bay, Ticks, Blood Glacier, Deep Freeze (okay, not better, but similar anyway), and, of course, the "Ice" episode of The X-Files. That's the biggest problem. Pick any of those movies, or that TV show episode, and you will be more entertained.

Although he's put front and centre on the poster design, and in the cast list, Kilmer is offscreen for a lot of this movie. He's fine in his role, but it's one of those roles that uses a star name to play a character vital to events without having to pay them more for being in more of the runtime. Sadly, none of the younger cast members are as good as Kilmer, with the best of the bunch being Aaron Ashmore. Martha MacIsaac is okay as the grumpy daughter, but Kyle Schmid and Steph Song are far too forgettable, making it hard to care during the moments that try to rack up the tension. Anne Marie Loder (billed as Anne Marie Deluise) is okay as another member of the core group at the camp, and Viv Leacock is good in the role of Bart, the guy who takes everyone up to the base by helicopter and then sticks around to try and help.

Mark A. Lewis directs capably enough, and there are some good gore effects used throughout that mix practical work and fairly decent CGI, but he's let down most by the script, which he co-wrote with Michael Lewis. The two writers seem to think that the core idea is strong enough to carry things along with no need for tension throughout most of the first half, forgetting that they should also scatter some more treats throughout, in the shape of either scares, gore gags, or, y'know, decent characterisation to have viewers invested in the third act.

That's not to say that they weren't almost correct though. Despite there not being much memorable here (from the cast to the score to the set-pieces), this still manages to be worth a watch, all thanks to the fact that it's a creepy-crawly creature feature. But it has nothing in it to warrant a revisit, and the sheer awfulness of the twist in the final act, which I won't spoil, almost undoes all of the good work.

6/10

You can buy the movie here.
Americans can buy it here.
Or just click on those links and go shopping for better movies. I win, you win.

Part of a poster that in no way represents the actual movie!

The Snowman (2017)

I have read one book, so far, by writer Jo Nesbø. It was, I believe, the book that really launched Nesbø to another level of popularity. I loved it. Many people loved it. It was a great thriller, with almost every chapter ending on a cliffhanger. Despite not being the fast reader I used to be in my youth, I tore through the book in no time at all.

A film of the book seemed like a good idea. Having Tomas Alfredson directing it seemed like a very good idea. He had already done such great work recently with two previous theatrical releases that successfully translated written works to the big screen (Let The Right One In and Tinker Tailor Soldier Spy). Michael Fassbender in the lead role? Sold.

Fassbender plays Detective Harry Hole, a man who spends his time self-medicating with alcohol when he is not being kept busy with murder cases. Having not been kept all that busy for a while now, he finds himself challenged when a killer known as the snowman starts to taunt the police, revealing a pattern of female victims abducted during periods of snowfall.

What you may have already heard about The Snowman is very true. It's a complete mess. Not messy as in "dammit, why does every action sequence directed by Michael Bay need to have 50 edits in every minute of film?" but messy as in a way that makes you wonder where entire sequences have disappeared to. It's so disjointed and unsatisfying that it barely qualifies as an actual movie, feeling more like a montage of snowy noir moments.

Fassbender isn't bad in the main role, and Rebecca Ferguson tries to do her best with the material given to her. The rest of the cast includes Charlotte Gainsbourg (who I tend to dislike in most films anyway), Jonas Karlsson, J. K. Simmons, Val Kilmer, Chloe Sevigny, James D'arcy. I could tell you how some of these characters figure in the plot, but there wouldn't be much point. They appear as and when necessary, and disappear just as abruptly.

Writers Peter Straughan, Hossein Amini, and Søren Sveistrup obviously liked the central idea. Who wouldn't? It's unfortunate, then, that they are unable to craft a worthy narrative around some of the story beats and visual motifs. It's almost as if the screenplay was handed over to Alfredson with only a handful of the main scenes written or someone decided to take the final product and edit it into an incomprehensible mess. I've seen many films even worse than this, but few major mainstream releases have been released in such a mind-bogglingly shoddy state.

Maybe best enjoyed by people who have never read the book, although god knows how they would make ANY sense of the plot (despite having read it, I could barely figure out the unfolding storyline), The Snowman is bad, and not the kind of bad that can make your viewing experience a fun one. It's just plain bad.

3/10

I guess you could get the film here.
Or, in America, you can get it here.

April Fools: Top Secret! (1984)

Another slice of comedic brilliance from the ZAZ team (David Zucker, Jim Abrahams and Jerry Zucker), Top Secret! remains, arguably, their most undervalued outing. It's easily as good as The Naked Gun, and it even comes close to the brilliance of Airplane!

Val Kilmer stars, in his first feature role, as smooth American rock and roll star, Nick Rivers. Nick is due to play a major gig in East Germany, unaware that his presence is viewed as nothing more than a distraction by East Germany, while some dastardly types plan the overthrow of the Western world. It's not long, however, until Nick is dragged into some danger and excitement by the lovely Hillary Flammond (Lucy Gutteridge), and then it's just a hop, skip and a straightened rug to an active role in the resistance movement.

Think of the zaniness that you love about other ZAZ movies, add some wonderful musical moments and a layer of exuberant surrealism, and you may start to understand why fans of Top Secret! tend to leap to its defence whenever it is overlooked or dismissed in any conversation about great comedy films. The jokes range from the sublime to the ridiculous, as you'd expect from the people involved, but the sublime gags are even more sublime than usual. Having said that, never underestimate the value of lines such as the following: "I know a little German. He's sitting over there."
And if you're not amused by a character named Deja Vu having his first line of dialogue questioning whether or not he has met someone before then I doubt you have a funny bone.

Kilmer is great in the lead role, every inch the cocky American teen idol, while Gutteridge is a lot of fun as the woman who drags him into the middle of the resistance movement. Warren Clarke makes a good villain, Christopher Villiers is amusing as the leader of the resistance, Michael Gough isn't in the movie for long enough, but gets one or two great lines, and Jim Carter steals a couple of scenes as the aforementioned Deja Vu.

If you like movies of this ilk, and have yet to enjoy the laughs that Top Secret! can offer, then I urge you to get to it as soon as possible. You won't be disappointed.

9/10

http://www.amazon.co.uk/Top-Secret-DVD-Val-Kilmer/dp/B00005UPO2/ref=sr_1_1?s=dvd&ie=UTF8&qid=1397284549&sr=1-1&keywords=top+secret+blu

Spartan (2004)

As enjoyable and smart as any of his other works, Spartan is another great script by David Mamet that's backed up with his solid direction. It may feel more open than many of his previous works, but it's still very much a character piece full of the cool dialogue and twisty turny mindgames that populate all Mamet movies.

Val Kilmer plays the lead character, Scott, a top military man who helps find out just who has what it takes for life in the tougher roles. He is asked to help out when the daughter of someone very important goes missing, but as the investigation uncovers a number of uncomfortable details it soon becomes clear to some people that Scott may end up causing embarrassment for some. When the case comes to an end, Scott then finds himself in a very strange situation. The mind that was so valued by the military, and his country, has now put him in a lot of danger.

There's nothing here that's really original, especially to viewers who have enjoyed the wealth of American TV detective shows in recent years (from the C.S.I to Monk, as the best examples), but what is here is given a thin coating of just enough paint to make it seem nice and new. The direction, also by Mamet, is unspectacular, but it's probably no coincidence that Mamet the director knows how best to serve the material provided by Mamet the writer.

Kilmer is great in the lead role, it's certainly one of his best performances in the past decade (which, admittedly, isn't saying much since he started to slide downhill in his career, sadly . . . . . I am still holding out for a great comeback though). The supporting cast features Clark Gregg, William H. Macy, Derek Luke, Kristen Bell, Aaron Stanford and Ed O'Neill, and all of them do good enough work, despite Bell being the weak link. Macy is particularly good fun, while the twists and turns make every performance worth closer scrutiny than usual.

It's not quite up there with some of Mamet's better movies, but this is still a very good film indeed, and one that deserves to retain a loyal fanbase through the years.

8/10

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Kill Me Again (1989)

The directorial debut of John Dahl, Kill Me Again is an enjoyable neo-noir that suffers in comparison to the future films that Dahl would deliver (most notably, The Last Seduction, but also the great Red Rock West).

Things start off with Fay (Joanne Whalley, billed here when she was Joanne Whalley-Kilmer) and Vince (Michael Madsen) making away with a suitcase full of stolen money. It turns out to be a lot more than Vince thought it would be, leading him to start worrying and considering where they can go to lie low. Fay doesn't want to lie low, so she gets Vince out of the picture and heads off on her own. Well, on her own with the suitcase full of money. Knowing that Vince will be in hot pursuit, Fay contacts a private eye (Val Kilmer) and asks him to help fake her death. She doesn't tell him the truth, of course, but she tells him enough to get him interested, with the bit about paying him $10,000 - an amount that he owes to people who are happy to hurt his fingers - probably the most interesting part. Things go according to plan . . . . . . . up to a point. Then, almost inevitably, things start to go awry.

Both Kilmers do well in their roles, with Val Kilmer playing the standard detective part well and Joanne Whalley being suitably sexy and manipulative. Michael Madsen remains a credible threat throughout the film, and there's a small role for Jon Gries (an actor I always enjoy watching, especially in '80s fare). Unfortunately, nobody else really stands out, good or bad, and the main characters aren't developed well enough to make the whole movie great. It's quite good, with the main problems being the pacing and a loose feeling to the whole thing, but it's not great.

Dahl, who also co-wrote the screenplay with David W. Warfield, shows his potential here, but also can't hide the fact that this is his first directorial feature. He has a good sense of style, and the script has a decent "skeleton" to it, but there just isn't enough good stuff fleshing out the movie beyond the main plot points.

It's okay, worth giving some time to if there is nothing better available, but it should have been more exciting, a bit sexier and a bit less . . . . . . . slapdash.

6/10

http://www.amazon.co.uk/Kill-Again-DVD-Val-Kilmer/dp/B00005AY11/ref=sr_1_1?ie=UTF8&qid=1384960161&sr=8-1&keywords=kill+me+again

MacGruber (2010)

He's the ultimate tool - that was the tagline on the posters for MacGruber and that sums up this MacGyver spoof, developed from a Saturday Night Live sketch.

Co-written by Will Forte, John Solomon and director Jorma Taccone, MacGruber is the kind of film that you probably already know if you're going to like or not. It's dumb, often crude and certainly not subtle.

Forte stars in the title role, teamed up with Vicki St. Elmo (played by Kristen Wiig) and Lt. Dizon Piper (Ryan Phillippe) as he gets a chance to capture and bring to justice the man responsible for the most tragic day in his life, Dieter Von Cunth (Val Kilmer). MacGruber isn't any good with guns, isn't any good with people and isn't any good at . . . . . . well . . . anything. But give him some paperclips, a pen and a jumble of wires and he somehow manages to come good. Sometimes.

I really thought I was going to like MacGruber and was surprised that I was so disappointed by it. I like all of the people involved and when I first heard of the central premise I thought it would be great fun. Sadly, it's not.

I think the main problem with the movie is that they make MacGruber SO useless. You just can't believe that this is a man who ever managed the achievements he is supposed to have under his belt. If this movie struck the kind of balance that, for example, Get Smart managed then it would have been a hell of a lot more fun.

Yes, I did indeed chuckle at the rather amusing use of celery and certainly laughed hard at MacGruber's reaction to the aftermath of an accident involving a hell of a lot of C4 but I didn't find anything that funny about the rest of the movie. Sex scenes played for laughs fell flat, the constant failings of the lead character quickly became annoying and the finale was just one dull moment after another, though I admit that there were intermittent moments of minor mirth.

Phillippe is great as the team-mate who soon realises the sad truth about the man he once idolised while Wiig does raise some laughs thanks to a couple of ridiculous disguises but Forte is saddled with a character who really is only one joke and one that's not all that funny. Kilmer . . . . . . his presence in the movie is frankly bewildering although he admirably goes along with everything that's thrown on screen.

Ironically, a lot more laughter could and should have been generated here but it limps into the distinctly average category and only just avoids being a complete dud.

5/10

http://www.amazon.co.uk/MacGruber-Blu-ray-Region-Free-Forte/dp/B003XRE4PY/ref=sr_1_2?ie=UTF8&qid=1378037524&sr=8-2&keywords=macgruber

The Prince Of Egypt (1998)

Be warned. I will be starting this review, as I sometimes do, with a bit of a ramble. But I do have a point. I sometimes use this blog to promote my personal views on subjects that I feel strongly about. Sometimes. The reasons I don't do it more often are that a) it's a MOVIE blog and b) I may often think I know what I'm talking about, but am wise enough to remember just how much I also don't know about any given subject. Having said that, one of my personal stances that I am happy to mention, but simply feel little need to go on about, is the fact that I'm an atheist. I have mentioned my lack of religious belief in other movie reviews, especially when the film being watched and reviewed is something with a very spiritual core, but it doesn't happen often because I don't think it really matters all that much if the movie succeeds in whatever it sets out to do. I also try not to offend people with religious beliefs because I love personal freedoms and the power to believe in anything as much as I loathe organised religion and what warped readings of ancient texts can do to certain, misguided, individuals.

Why do I need to say all this at the start of a review of an animated movie about the life of Moses? Do I need to have firm religious beliefs to enjoy this film? No, of course not. Not at all. Although it might help. The strange thing is that I have always loved the better-known biblical tales and the parables that I was taught as a young boy. I think that they're decent stories, often with a good moral to take away and think about them. Decent stories, from any source, should make for decent movies. Sadly, that's not the case here.

The life of Moses (voiced here by Val Kilmer) is an exciting one. It starts with the young boy being sent downriver in his baby basket to save him from slavery and/or death and develops into a tale that includes a burning bush, a bit of strife with Rameses (Ralph Fiennes), ten terrible plagues, the parting of the Red Sea and more.

Exciting stuff, I'm sure you'll agree. Which is why The Prince Of Egypt is so frustrating for most of its runtime. It's just far too dull. The animation is nice enough, and there are plenty of sequences full of great visuals showcasing a nice stylised take on ancient Egypt, and the vocal cast, including Sandra Bullock, Michelle Pfeiffer, Danny Glover, Steve Martin and Jeff Goldblum among many others, certainly doesn't lack star power. Sadly, the film takes these elements and does nothing with them. Songs are drab and unmemorable, and set-pieces never take off in the way that they should. There are moments when things seem about to lift up, then it just crumples once again.

Philip LaZebnik is the man responsible for the lifeless script, with additional material from Nicholas Meyer, and Brenda Chapman, Steve Hickner and Simon Wells are the directors failing to find any other ways to liven up the material. Having sat through this while feeling quite bored throughout, I can't imagine any kids ever being enthralled by it. Knowing how much I enjoyed these tales when I first learned of them as a youngster, that just emphasises what a failed opportunity this is.

4/10

http://www.amazon.co.uk/The-Prince-Egypt-DVD-Kilmer/dp/B000059HL2/ref=sr_1_1?ie=UTF8&qid=1375655130&sr=8-1&keywords=the+prince+of+egypt

Kiss Kiss Bang Bang (2005)

Written and directed by Shane Black (the man responsible for the Lethal Weapon movies, The Monster Squad and more), Kiss Kiss Bang Bang is everything that you hope it will be and a little bit more. A couple of things stop it from being perfect, there are some scenes that just feel overly indulgent and the razor-sharp script constantly teeters on the edge of being too smart and smug for its own good, but it's a mix of action, thrills and comedy from a man who has shown mastery of this kind of material.

The plot is as follows - a petty criminal (Harry Lockhart, played by Robert Downey Jr.) ends up accidentally auditioning for a movie role and getting the part. He is then put on assignment with a detective (Gay Perry, played by Val Kilmer) and quickly finds out that being a detective isn't all that it's shown to be in the movies. Things soon move from the mundane to the intriguing, however, when the two men see a woman's body being dumped in a lake. The plot quickly thickens, Harry also tries to impress a girl that he's held a candle for all his life (Harmony, played by the beautiful Michelle Monaghan) and bullets start to fly, fingers are removed from hands and dead bodies start to pile up around the two main characters.

Although it's a small movie that more and more people need introduced to every week, I count Kiss Kiss Bang Bang as one of the big contributing factors in the grand resurrection of Robert Downey Jr's career. There had been other roles, of course, but 2005 was the year that showed he could still mix it up in a number of different genres and he still had bucketloads of charisma to spare. Am I overestimating the appeal of the movie? Watch it and then tell me.

Of course, the film isn't just the Downey Jr. show and everyone else puts in equally good performances. Val Kilmer is at his very best in the role of Gay Perry and Michelle Monaghan is absolutely adorable. Solid support comes from a mix of people: Corbin Bernsen, Larry Miller, Shanny Sossamon, Angela Lindvall and more.

It's not action-packed from start to finish so if you're after a new Die Hard or Lethal Weapon movie to love then this won't be it. If, however, you're after even more brilliance from the man who helped create some of the best, and coolest, action films of the last few decades (including the brilliance of The Last Boy Scout and The Long Kiss Goodnight) then this is the film that you must watch, purchase and then watch again and again. It's up there with the very best of Black's writing and he proves himself to be no slouch in the directing department either, putting it all together perfectly and moving from start to finish with a constant supply of his usual wit, insults and zippy plotting.

If you've somehow missed this movie so far then do yourself a favour and get to it ASAP.

9/10

http://www.amazon.co.uk/Kiss-Bang-Blu-ray-Region-Free/dp/B000KC86JK/ref=sr_1_1?ie=UTF8&qid=1357051470&sr=8-1

Tombstone (1993)

As is sometimes the way, Tombstone is a fantastic film that really seems to have defied some long odds to come together as well as it has. Kevin Jarre, who wrote the main script, was initially due to direct the film, but was fired just after he directed a number of scenes featuring Charlton Heston. George P. Cosmatos is the man who now has his name listed as director, but Kurt Russell played just an important, and maybe even more important, role in getting everyone back in the game and getting the movie finished. It's not surprising. Russell had a plum starring role in a movie chock full of great actors being allowed to do great things.

The film is all about Wyatt Earp (Russell) and his brothers (played by Sam Elliott and Bill Paxton) as they settle into life in Tombstone and try to enjoy some peace and quiet. Doc Holliday (Val Kilmer) is also in town and it seems like everyone may get to enjoy life a bit more with the days of being a lawman in Wyatt's past. But people don't always get what they plan for and Tombstone soon starts to see more and more violence in its streets, so much so that the pressure mounts for Wyatt to return to his old role. That is something that he just doesn't want to happen, but he may not have a choice in the matter if some of the more trigger-happy cowboys keep causing so much trouble.

Kevin Jarre's script was, apparently, pared down quite a bit from its initial size, but what's here is all good stuff. There are some superb lines of dialogue and characters are well sketched out. Despite how densely populated the film seems, everyone is given a decent share of the screen-time. Oh wait, that's not quite true. All of the men are given enough time and space, but most of the women in the movie are given fairly short shrift. Dana Delany fares better than most in the role of Josephine Marcus and Paula Malcomson and Joanna Pacula have one or two good moments, but Lisa Collins and Dana Wheeler-Nicholson needn't have bothered turning up, considering the little that they have to do. In fairness, the film is a look at Wyatt Earp and his friends and family and that famous gunfight at the O.K. Corral so decisions would have been made to keep the focus on the men about to get themselves involved in a historic shoot-out.

The direction, from whoever was in the big seat, is absolutely fine, but the cinematography, set design, etc. all pale in comparison to the work done by the casting department. Simply put, Tombstone has one of the best casts in a 1990s movie that you can think of. Let me just reel off the better-known names and see how long the list gets: Russell, Elliott, Paxton, Kilmer, Delany, Pacula, Powers Boothe, Michael Biehn, Charlton Heston, Jason Priestley, Stephen Lang, Thomas Haden Church, Michael Rooker, Harry Carey Jr, Billy Bob Thornton, Billy Zane, Wyatt Earp (you read that right, he's a distant relative of the lead character), Terry O'Quinn and the voice of Robert Mitchum.

Feel free to re-read that list and soak up just how much quality is scattered throughout it. The fact that, despite so much competition, this film ends up being owned by Michael Biehn and Val Kilmer, in their separate scenes and also any that see them sharing the screen, just shows how good those two actors are. One moment in particular, with Biehn's Johnny Ringo showing off his gun-twirling skill before being delightfully mocked by Kilmer, is up there with the very best in the Western genre (maybe even THE best, in my opinion). Russell is very good in the main role, as you'd expect, but Wyatt Earp is the unshowy, earnest heart while Biehn and Kilmer get to be a lot more flamboyant and fiery.

While not an entirely perfect film, Tombstone somehow manages to put so many individual great moments together that it feels almost like an instant classic. It becomes more than the sum of its parts, but that's because all of those parts are so well cast.

9/10

http://www.amazon.co.uk/Tombstone-The-Directors-Cut-DVD/dp/B001QOGXPU/ref=sr_1_1?ie=UTF8&qid=1363068604&sr=8-1