Maverick (1994)

Springboarding from the old TV show (not one I have ever actually seen), Maverick is a comedy Western that coasts along on the charm of the leads, rejigs a lot of the classic Western tropes in ways that subvert them for comic effect, and entertains from start to finish. It's the kind of film that has the feeling of good humour and camaraderie emanating off the screen, and I think it's one that too many people seem to have forgotten about already.

Mel Gibson plays Bret Maverick, a cowboy who lives for the thrill of the draw. The draw of cards from a deck. He’s a gambler, and one who makes more money by acting naive. He also stays alive by acting cowardly, avoiding fights whenever he can. But being unwilling to fight everyone who wants a fight doesn’t mean that Maverick is incapable. He’s actually quick and sharp with a gun, and his wit. Alongside a couple of other main characters (Annabelle Bransford, played by Jodie Foster, among them), Maverick is aiming to get his place at a major poker tournament set to take place on a riverboat. He needs his entry fee, he needs to avoid people who are dead set against him taking part, and he needs to keep lady luck on his side.

Directed by Richard Donner and written by William Goldman, the marriage of expertise both behind and in front of the camera makes this a real treat. It’s easygoing - the more tense and dangerous encounters remain focused on being cinematic, without needing to add grit or any complete revisionism - and the story hits all of the expected beats without feeling tiresome. Goldman has given us better scripts, undoubtedly, but this is a film that really plays to his strengths, and subsequently rewards anyone who appreciates his writing skills (which should be pretty much everyone).

Gibson gives a star turn up there with the best of his star turns, charming and cheeky and always one step ahead of people who think he is two steps behind. He’s a reluctant hero, always making time to sigh and roll his eyes before endangering his life to help others. Foster isn’t quite as good, playing her scheming “Southern belle” character in a way that fails to light up the screen as it should. She improves as the film goes on though, and her comedy chops work better whenever she is verbally sparring with Gibson. James Garner is welcome in his strong supporting role, especially as he brings the baggage of his performance in the main role when it was a TV show, and the rest of the cast is stuffed full of great actors and faces from the Western genre. James Coburn, Dennis Fimple, Denver Pyle, Leo Gordon, and many others are all given some screentime. There’s a great villainous turn from Alfred Molina, a very fun cameo from Danny Glover, and a hilarious sequence with Graham Greene helping the main character to scam some money from a rich hunter. Add in small turns from Geoffrey Lewis, Art LaFleur, Dan Hedaya, and Max Perlich and you have a non-stop parade of great turns.

There’s also a playful Randy Newman score, a number of impressive stunts (including an excellent runaway coach sequence), players winning poker with hand that defy astronomical odds, and occasional glimpses of classic cowboy gun-handling. And it all adds up to a fun time, one that doesn’t even feel overlong with a 2+ hour runtime because you are rarely left without a smile on your face as things play out.

8/10

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Prime Time: Memoirs Of An Invisible Man (1992)

Arguably the most atypical movie in the filmography of John Carpenter, Memoirs Of An Invisible Man is very much a studio movie/Chevy Chase vehicle that just happens to have been directed by the horror maestro. It's an interesting one to watch, and some of the special effects remain impressive (while some others don't), but it's important to go into it not expecting a Carpenter movie.

Chase plays Nick Halloway, a slick office guy who finds his world turned upside down when he's caught up in an accident that renders him invisible. This makes it more difficult to continue his new relationship with the lovely Alice Monroe (Daryl Hannah). It also makes him a target for some shady government agent types (headed up by David Jenkins, played by Sam Neill).

Utilising noirish narration throughout most of the story, and paced briskly enough to get you along to the fun of the invisibility, Memoirs Of An Invisible Man is a consistent mix of the old and the new. It gets to restrict the need for hundreds of special effects by showing many scenes with Chase visible, although it often cuts to show the reality of how his invisible self is manipulating the environment or people around him, and the plot focuses just as much on the chase aspect than it does on the problem of no longer being able to see parts of your own body.

The script, credited to Robert Collector, Dana Olsen, and William Goldman (who has never seen the finished product and doesn't know how much of his material was left in there), is a bit of a mess. It's good in the way it moves from one (non)sight gag to another but not so good when weaving between the standard thriller aspects and the moments between Chase and Hannah.

Speaking of the leads, they don't do a bad job. Chase, however, would have been better playing this as audiences expected him to, more comedically. There are scenes that come close to capturing that cheeky twinkle he does so well, and then it's all undone by the need to have him acting seriously, either opposite Hannah or Neill, who is entertainingly ruthless in his bad guy role. Solid support comes from Michael McKean, Stephen Tobolowsky (not onscreen nearly enough), and Jim Norton (mentioned because Father Ted may wish to see "Bishop Brennan" in a John Carpenter movie).

The direction is surprisingly flat, you can tell that this was a paycheck gig for Carpenter, who doesn't provide the soundtrack either. Put this into a player without showing anyone the opening credits and I would defy anyone to put the director's name to it. That doesn't stop it from being fun, and Carpenter does well with the variety of effects (showing a wide array of previously-unseen visuals, as far as I am aware, like an invisible man smoking, and also, at one point, vomiting). It's just not a film with any fingerprints on it.

While not worth putting high on your list of priorities, especially if you have other Carpenter movies to see, this is an easy film to watch and enjoy, with a couple of great set-pieces and a fun ending.

6/10

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