If you thought a San Francisco police detective (Michael Douglas) was hard to break imagine how tough it is to sway a London shrink (David Morrissey). Leave it to Catherine Tramell (Sharon Stone) to try. The sinful author has resurfaced and--in the nearly decade and a half since the first Basic Instinct--moved to London. Old habits die hard however and she’s again being investigated for a sex-gone-awry homicide. This time it’s renowned shrink Michael Glass who’s charged with keeping a watchful eye on the elusive seductress--and does he ever! He tries to maintain his professional ethos but what’s a platonic doctor-patient non-relationship to him is the ultimate aphrodisiac to Tramell whom Dr. Glass diagnoses with “risk addiction” and delusions of omnipotence. And so begins the Freudian chess match: How long can he resist the femme fatale and how long can she resist him resisting her? In Basic Instinct 2 Stone makes us feel naughty--and not a “good” naughty. She looks great and there aren't any uh extra close-ups but subtly put almost 15 years have past since the first installment and Stone is no spring chick--er rabbit as it were. For her to still be oozing sex as if it’s only been a sequel-standard couple of years is creepy even though she looks nowhere near her age. The accompanying smolder and breathy voice make it hard not to laugh; she’s actually too regal an actress for this stuff. Morrissey--who strangely resembles the Smiths singer of the same name--does fine work with an unenviable role of a steely bloke intrigued by the seedy London underworld his patient enjoys. But it’ll take repeated broodings for him to be the next Clive Owen. The biggest waste of talent comes from Charlotte Rampling (Swimming Pool) as Glass’s mentor. She has no place here and that’s meant solely as a compliment. In some ways Basic Instinct 2 is such a shame: When the film operates purely as a murder mystery--at least for its first half--it’s somewhat engaging. Sadly the only reason there’s any interest in this long-delayed sequel at all is the prospects of sex to outlast its original. Thus it is clear to see how cantankerous a film this must’ve been for director Michael Caton-Jones but he does the best he can with all the sexual innuendo that leads up to all the sexual (anti-)climaxes. The completely absurd opening sequence gives it all up without even playing hard to get. It immediately feels like a traditionally slick dull and revelatory film whereas the first one offered us foreplay first before moving on to no-holds-barred sex; there’s neither that brand of foreplay nor sex here. More ridiculous still is the second half as the film eventually feebly attempts to hide improbable twists behind the sordid mind of a writer.
Elderly Ptolemy (Anthony Hopkins) who once served under the great Alexander (Colin Farrell) narrates the life story of the man the myth the legend--the son of the ambitious King Philip (Val Kilmer) who surpassed his father at every level and charged into the farthest reaches of the world. From early childhood in Macedonia we see where Alexander gets his drive--mostly from his vengeful snake-lovin' mother Olympias (Angelina Jolie) who urges her son to take charge as well from his tutor Aristotle (Christopher Plummer). Even in the taming of his unbreakable horse Bucephalas at 10 years old Alexander's destiny is evident. The heart of the film lies in Persia which Alexander conquers in one of the most studied military battles of all time. Alexander spends a great deal of time there--taking in the culture claiming its riches and marrying a Bactrian princess Roxane (Rosario Dawson)--much to the chagrin of his Macedonian generals who are stuck in this foreign land with their king. Despite this success Alexander grows restless and turns his attention to the rest of the world including the unexplored regions of India. With his army stretched thin and his Macedonian troops longing for home Alexander presses them one campaign too far. Succumbing to a mysterious illness at age 33 Alexander dies never quite finding what he so desperately searched for.
Although some may scoff at casting the Irish actor in the lead Farrell does an admirable job playing the tortured hero blond wig and all. He exudes plenty of wide-eyed fury and intensity as Alexander the warrior balanced by the controlled calculation of a hyper-effective military commander although he isn't nearly as effective as the idealistic pre-world-conqueror Alexander as he is spiraling down into the haunted angst-ridden Alexander at the end of his obsessive crusade. Casting Jolie as Olympias is a stroke of genius. Sure Jolie can play a smart and beautiful woman in her sleep but her beauty is surpassed only by the power she imbues as Alexander's bitter yet loving mother; she's as hypnotic as the snakes she carries around. Kilmer relishes his role as Alexander's father Philip in all of his grotesque wine-soaked glory. Powerful driven and battle-scarred Kilmer's Philip knows precisely what he wants and matches Jolie's quiet intensity with the raw aggressive masculinity of a warrior king who is far more comfortable in his armor than a toga. In the supporting roles Hopkins is great as always this time in the thankless role of the narrator while Dawson plays Roxane with a ferocity that is as mesmerizing as it is terrifying. Standout Jared Leto also turns in a concentrated performance as Hephaestion Alexander's long-time companion boyhood friend and the person who loves Alexander the best. (And we do mean love.)
Alexander is Oliver Stone at his best. An Alexander nut for most of his life the director gives us a film that--even in its loooong three-hour form--continuously holds your attention especially its intense and bloody battle scenes. I mean honestly once you've fought against an elephant in armor the plain old sword-and-shield skirmishes pale in comparison. Alexander also possesses a great breadth of visuals: Alexandria's peace Pella's tension Babylon's opulence and India's richness. Yet as wonderful as the landscapes are it's personal interactions and internal politics that drive the story--and of course Stone's penchant for conspiracy theories as he more than insinuates Alexander was poisoned by his enemies rather than dying of an "unknown" illness. But a problem still remains: Alexander's life was so huge and he did so much that it's almost impossible to encapsulate it effectively into one film. Stone instead has to focus on what he thinks is the most important namely Alexander's renowned conquests while allowing the pressure cooker in which the young conqueror grew up--the triangle of mother father and son--come through in the decisions he makes later in life. For those few of us who have studied Alexander Stone has made this film especially for us. If you haven't spent any time reading Arrian and the other histories this excellent film might just inspire you to do so.