Mubi Monday: Village Of The Damned (1995)

The second reworking of classic sci-fi horror material by director John Carpenter, this is much less successful than his previous attempt. Perhaps it's because the original was already a pretty perfect adaptation of the John Wyndham novel, "The Midwich Cuckoos", or perhaps it was just too lacklustre in all departments, from cast to cinematography, through to score and direction.

You will probably already know the plot. A small village is temporarily knocked out. Completely. Everyone just passes out, and anyone trying to enter just passes out as soon as they step within a certain radius of the location. Then everyone wakes up, and nothing seems different. It becomes clear, however, that all of the females who can bear children have become pregnant. And when those children are born they are all very similar in their physical characteristics. And they share the ability to read the minds of the people around them. Not only that, they can influence people to do things, even if that leads to self-harm or death for the person being controlled. Someone has to stop them, but it may already be too late.

Village Of The Damned is not a BAD film, not exactly. It's certainly not the worst from Carpenter, but the titles in his filmography that rank below this at least had some interesting ideas and imagination, even if the execution of the material was flawed. This is just a film that feels exactly like what it was, a contractual obligation. It's hard to think of a better way to update this material but I am sure there is one. There has to be a better approach than just taking the main plot points and including some moments of unimpressive violence and death.

I always enjoy seeing Christopher Reeve onscreen (this was the last film he completed before the horse riding accident that left him paralysed) and this is another role that makes use of his stoic nature and dependability. He's really the only lead character who remains interesting throughout, with anyone else - Kirstie Alley, Linda Kozlowski, Mark Hamill, etc - either hampered by the script or their unsuitability to the roles assigned to them. Thankfully, there's a great little turn from the legend that is George 'Buck' Flower and the kids are all easy enough to dislike, even if they often emanate an air of irritability rather than pure evil.

This is TV movie stuff when it should have been much better. It's not as if Carpenter wouldn't be a fan of this kind of material, making it all the more surprising that he didn't try to put more of a stamp on the script, credited to David Himmelstein, and either update the material in a much smarter way or use the central idea as a springboard for something that diverted further from the source novel.

It's not a painful viewing experience, but that's really the best thing I can say about it. It's arguably the worst film in Carpenter's filmography, because at least the other films that could be nominated for that title had some imagination and atmosphere to them. They felt like John Carpenter films, even as they started to fall apart. This doesn't.

4/10

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Streets Of Fire (1984)

A rock and roll fable, apparently, from director Walter Hill, Streets Of Fire may seem like a bit of an anomaly when compared to the many other movies from the director, but it doesn't take long to see just how many familiar elements are in place here.

Diane Lane plays a rock star, Ellen Aim, who is kidnapped one evening by an unruly biker gang led by Willem Dafoe. The biker gang have been revving into town whenever they like, causing trouble and not coming up against anyone who can teach them to behave a bit better. Kidnapping Ellen, however, leads to a young woman named Reva (Deborah Van Valkenburgh) writing to her brother, Tom Cody (Michael Pare). Tom used to go out with Ellen, and he's the kind of guy who can stand up to the bikers and sort out the mess that's been created.

Bookended by a couple of bombastic rock tunes (think Meatloaf meets Bonnie Tyler style), Streets Of Fire isn't a full-on musical, but it has a few moments that pause the action for the sake of a song or two, and is all the better for it. In between the songs we get a number of fights, plenty of corny dialogue, and a few scenes that allow Bill Paxton to make you laugh with the best hairdo that he's ever had.

^^^^^^^^^ Seriously? Who styled his hair?? ^^^^^^^^^

The lone hero going against the baddies, and possibly helping to clean up the town. The motorbike engines tearing up the screen in a way that almost allows you to smell the exhaust fumes. The neon-lit streets that serve as the backdrops for the main action. In many ways, this often feels like a natural successor to The Warriors. There are youngsters trying to overcome some big odds, and most of the scenes could be broken down into comic book panels (but don't remind Hill of that, unless you want some ridiculous tinkering a la the director's cut of the aforementioned 1979 classic), and both movies are about gangs and territory, in a number of ways.

Cast-wise, Pare isn't the best leading man, but he grows into the role as required, and Lane is as gorgeous and cool as the character needs to be. Dafoe gives the kind of performance that you'd expect, making for an enjoyably fierce villain. Rick Moranis and Amy Madigan are two people who end up helping out our hero in very different ways, with the former portraying a businessman with little backbone and the latter a tough woman who values loyalty above potential cash. Paxton makes quite an impression, Rick Rossovich and Richard Lawson are a couple of fairly ineffective police officers, and Van Valkenburgh does well enough with her small role, even if her character does little more than kickstart the main plot.

Dafoe in full-on mad villain mode.

However, this is Hill's movie all the way. As well as directing, he also co-wrote the script with Larry Gross, and each sequence is planned out in line with his uncompromising vision. It's a fantastic achievement. Some may call it an exercise in style over substance, but I would argue that the style helps to create the substance. The motorbikes, the rockers, the love story at the heart of it all, the dialogue that eschews reality for the sake of sounding cool, the gruff (anti?) hero - all of these things are ripped straight from numerous rock ballads, and that's what this is. It's one big rock ballad turned into a movie. As it's described, and as I mentioned at the very start of this review, it IS a rock and roll fable. And it's a bloody fantastic one.

9/10

http://www.amazon.co.uk/Streets-Fire-Blu-ray-Diane-Lane/dp/B00F0R0FY4/ref=sr_1_1?ie=UTF8&qid=1405077781&sr=8-1&keywords=streets+of+fire

Maximum Conviction (2012)

When Maximum Conviction arrived through my letterbox my heart sank a little bit. People may remember that I endured almost every Steven Seagal movie ever made over the course of many months (if you need verification then just type his name into the search box on the right and have a browse). It almost broke me. Thankfully, I had no more to endure for a while. All of his releases over the past couple of years seemed to be episodes of his show, True Justice, spliced together and sold to undemanding fans. But I knew the day would come when I would have to watch this man in action again. Maximum Conviction was the film that dragged me back into Seagal's world.

As stupid as it was, I still held on to a shred of hope. After all, Steve Austin was also in the movie, and I like Steve Austin. It only took a few minutes to grind that hope into dust. Seagal and Austin play two former black ops kinda guys (does Seagal ever play any other kind of character? No, no he doesn't) who are helping to decommission a prison that now holds two extra "guests" in the shape of Samantha and Charlotte. Unfortunately, some very powerful people want one of these women for some information that they possess so it's not long until the prison is breached and lots of armed men are causing trouble while being repelled by Seagal and company.

Directed by Keoni Waxman (who also directed The Keeper, which was Seagal's last half-decent action film), and written by Paul Beattie, Maximum Conviction has potential that is wasted thanks, once again, to a lazy turn from an out of shape leading man. Seagal just doesn't cut it any more as an action star. In fact, he hasn't been cutting it for the last decade or so, and that makes it increasingly difficult for his movies to continue appealing to ACTION fans. This movie is improved by the presence and physical work of Steve Austin, but there's only so much that can be done when Seagal insists on having the lead role even as he continues to pass most of his scenes over to his stunt double. Elsewhere, Michael Pare turns in another bad guy performance, Ian Robison is a spineless warden and Aliyah O'Brien and Steph Song are the women who could be in big trouble, playing Charlotte and Samantha, respectively. If you're expecting any great acting then you clearly haven't seen any other Steven Seagal movie.

The most frustrating thing about watching Maximum Conviction is how close it comes to being a good film. The premise isn't that bad, the pacing is fine and some of the action set-pieces have the right level of energy and damage to be good entertainment. Unfortunately, the combination of low-budget (the movie certainly LOOKS cheap), laziness and over-editing just ends up making the movie a bit of a chore.

I would say, hesitantly, that some hardcore Seagal fans may well see this as a bit of a return to form. Everyone else will probably see it as yet another one to avoid.

4/10

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Rampage (2009)

In case you were still unaware of the fact, Uwe Boll has spent the past few years defying the odds (and expectations of everyone) to start making watchable, and even good, movies. Rampage is his best yet, a very warped and unflinching look at someone who looks over the edge of an abyss and then dives right in.

Brendan Fletcher plays Bill Williamson, a young man not really going anywhere in life despite support from his loving parents, a steady job and at least one good friend. He finds himself angered by things that anger us all (such as being overcharged for a poorly made coffee, for example) but instead of going home and grumbling to himself he finds another solution. Bill makes himself a special suit, arms himself with plenty of weapons and ammo and goes on the titular rampage, killing everyone that gets in his way.

As strange as it may seem, Rampage is actually a very smart look at certain problems in midern day society as well as being a fine, slightly twisty, thriller. Differing from the likes of Falling Down and God Bless America, this film doesn't show someone really having pressure upon pressure piled upon them until breaking point. It shows someone wanting more from life and not caring about anyone around him. While the other movies mentioned show men pushed to their breaking point this movie revolves around a real sociopath. 

Brendan Fletcher is great in the lead role, surprisingly easy to like despite his actions. Matt Frewer and Lynda Boyd are both great as caring parents, oblivious to what their son is planning. Shaun Sipos is just fine in the best friend role and there are very brief appearances from Michael Pare and Katharine Isabelle (blink and you'll miss her).

The script is sparse but effective and the direction is very good. Yes, I said the direction is very good. From the premise of Rampage you'd possibly imagine a very lightweight movie that overstays its welcome after an hour, at most, but the movie manages to be a canny mix of disturbing violence, pitch black humour and real tension and thrills. Which was a lot more than I was expecting.

8/10

http://www.amazon.co.uk/Rampage-DVD-Brendan-Fletcher/dp/B003JT0S74/ref=sr_1_1?s=dvd&ie=UTF8&qid=1337193729&sr=1-1