Prime Time: Flatliners (1990)

Intense lighting in every shot, hidden wind machines blowing about the hair of the lead actors, Kiefer Sutherland floating through tree branches, Flatliners may have been released in 1990 but it is so ‘80s that it’s almost hilarious at times.

Sutherland plays a med student who comes up with a bizarre plan. He thinks that science can be advanced if you can spend some time exploring the world of death and then return to the world of the living. He enlists the help of others (Kevin Bacon, Julia Roberts, William Baldwin, and Oliver Platt) in his quest to play god. People take their turn on the table, being killed and then brought back to life. But they don’t come back alone. Sins from their past cling to them like a rain-sodden jacket.

Director Joel Schumacher takes a decent idea and makes it a fun star vehicle for some hot properties. That’s absolutely fine, and there are also some light scares dotted throughout, but it’s not a film anyone should seek out if they’re after proper tension and scares. This is a gateway flick, I guess, a teen horror with very little bloodshed and only one character ever feeling in proper danger. And for those of a certain age, it has that glow of nostalgia. 

Peter Filardi doesn’t do a bad job with his first feature screenplay, despite the obvious relative restrictions of having some big star power involved. Everyone has a quick and easy “hook” (be it Baldwin’s character videotaping his sexual trysts, or the others carrying around deep-rooted guilt for actions, or inaction), and the main morality lesson at the heart of it, aside from the dangers of playing god, is a solid one.

Baldwin aside, because he is arguably the blandest of the Baldwins, the central cast here are fine company. Sutherland happily goes over the top, far too cocky from the very beginning and very shaken up by the most dangerous of the “visions” that the main characters have. Bacon and Roberts are wavering needles on a moral compass, and work well, although there’s no chemistry in the scenes between them that are supposed to show them growing a bit closer together. And then there is Oliver Platt, an actor who elevates everything that he works on. He is his usual excellent self here, commenting on the situation as a witness who hasn’t been on the same journey as the other characters. Joshua Rudoy is an entertainingly vicious spirit, dressed in a red coat that inevitably brings to mind an older horror movie many consider a masterpiece, and Kimberly Scott has a nice moment, playing an older version of a young girl who was horribly bullied by one of our leads.

None of the sets look like anything other than cool movie sets, the score by James Newton Howard seems designed to underline every scare and attempts at emotion, and Schumacher moves his stars through the story like, well, stars being moved through a story, as opposed to fleshed out fictional characters, but none of these things really matter. If anything, they make Flatliners as enjoyable as it is. The sense of every main scene being so obviously staged, the feeling of stars being selected to turn up and be stars, the stranger highs and lows of the journey, it’s all a strangely cosy way to put together a slick chiller. And it guarantees that the film itself never actually flatlines.

7/10

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Sexy Evil Genius (2013)

Sexy Evil Genius is a great title in search of a great movie. The film itself isn't bad, but it's yet another in a long line of movies that isn't quite as cool or funny or hip as its creators would have everyone believed. It's a decent distraction for 90 minutes, but nothing worth revisiting, and certainly not one that will be brought up by film fans reminiscing a few years further down the line.

Seth Green, Harold Perrineau and Michelle Trachtenberg play three people brought together by Katee Sackhoff (playing Nikki Franklyn, the sexy evil genius of the title). They have been asked to wait at a bar at a certain time, and they have all obliged. When Nikki eventually appears she is accompanied by a rude and corrupt lawyer (played by William Baldwin). But, more importantly, she also has a plan. A plan that started falling into place as soon as her friends started to arrive at the bar.

Written by Scott Lew, the premise and pacing of Sexy Evil Genius may appear achingly desperate to be cool, but the dialogue isn't actually all that bad. At least, it's not bad during the first half of the movie with the three strangers getting to know one another. Things take a bit of a dip, however, when Sackhoff appears and Lew seems to free himself from his previous self-restraint, investing the titular character with all of the attitude and soundbites stereotypical of so many other movies that have tried to score themselves lots of cool points. It's clear that Lew cares about his creation, and also clear that he cares about her a bit too much, to the detriment of the others who are simply pawns.

Director Shawn Piller doesn't do a bad job at all, considering that the movie is mainly just a group of people talking to one another around a table in a bar. He doesn't really do much to detract from that fact, but he doesn't make it into a tortuous exercise either.

The casting helps a lot, something I never thought I'd say with Trachtenberg onscreen (I'm not her biggest fan). With so few characters holding the attention of viewers for the duration of the movie, they have to be easy enough to like, and they are. Trachtenberg is just the same as she always is, but that works this time. Perrineau is one cool cat, and Green is, well, he is also the same as he's been a number of times before. Again, no problem as it works here. Baldwin is enjoyably sleazy, and the only real weak acting onscreen comes from Sackhoff, but I'm not sure whether that's her fault, as she breaks out the manic tics and tricks, or perhaps the fault of the writer.

Sexy Evil Genius isn't a complete waste of your time, but it doesn't do enough to stand out from the crowd. You may enjoy it for 90 minutes, but you won't feel as if you've missed out on some gem if you end up never seeing it.

5/10

http://www.amazon.com/Sexy-Evil-Genius-Michelle-Trachtenberg/dp/B00B1MJNKE/ref=sr_1_2?ie=UTF8&qid=1389567774&sr=8-2&keywords=sexy+evil+genius

Backdraft (1991)

As a tribute to firefighters everywhere, Backdraft works. As a piece of fluff that will appeal to any youngster who always wanted to be a firefighter, Backdraft works. As an entertaining and involving movie, Backdraft just doesn't cut it. After a decent run at the box office, this movie exploded (no pun intended) on home video. Well, I can't tell you if it was popular everywhere, but it certainly quickly became the must-see movie at my high school. I think, if my memory serves me correctly, that this may have been due in no small part to the reduction (removal?) of the rental windows that I remember being brought about by Robin Hood: Prince Of Thieves. I am only going by personal recollection here so may be completely incorrect. What is definitely correct is that this particular movie was very popular on video at Liberton High School (which, ironically, still hasn't burned to the ground, despite my fervent prayers).

The plot is standard melodrama, directed by Ron Howard and written by an ex-firefighter named Gregory Widen (who witnessed someone killed by the titular occurrence). William Baldwin (one of the many lesser talents in the Baldwin brood) plays Brian McCaffrey, a young man who finally passes the test to become a firefighter and ends up stationed alongside his big brother, Stephen 'Bull' McCaffrey (Kurt Russell). Big brother wants to look after him and he does that by working him harder than anybody else. Scott Glenn is another one of the old hands while Jason Gedrick plays the other new recruit, a young man lucky enough to not have any older brother on HIS case. On top of the tension between the two brothers there are also a worrying number of fires that seem to have been engineered, possibly, to kill certain people. Robert De Niro plays the investigator trying to find out how the fires started.

Apparently, when she read the script Jennifer Jason Leigh (who plays Jennifer Vaitkus, Brian's old flame who may be reignited) said that she wished she could play the fire because it's the best part and that really tells you all that you need to know about the movie. The fire IS the best part. When the flames are billowing around the screen the movie gets interesting. At all other times it's just a messy mix of horrible, super-cheesy lines and completely uninteresting personal drama that is all underlined by a manipulative score from Hans Zimmer.

Kurt Russell is always good to watch, as far as I'm concerned, and there's also a lot of fun to be had when De Niro is onscreen. There's also a lot of fun to be had in the moments featuring Donald Sutherland, as an imprisoned arsonist, and the always-great J. T. Walsh plays a slippery politician and is . . . . . . . . . . . . great, as always. Scott Glenn is alright, Clint Howard has a tiny, but enjoyable, role and Jennifer Jason Leigh and Rebecca De Mornay both do okay with what they're given. Jason Gedrick may not be great, but the weakest link in the cast is bland, talentless William Baldwin who drags the film down with his weak "talent". A better leading man MIGHT have improved the movie ever so slightly, but it's hard to say. As the saying goes: "you can't polish a turd".

Ron Howard isn't a consistently great director, but he has made many very good movies (personally, I love Apollo 13, Parenthood and Frost/Nixon, among others) and I haven't seen a movie from him that I have completely hated. Having said that, this one is the worst I've seen from him so far.

4/10

http://www.amazon.co.uk/Backdraft-Blu-ray-Kurt-Russell/dp/B004GCK6W0/ref=sr_1_2?ie=UTF8&qid=1361296523&sr=8-2