You can’t buy happiness so why not waste millions of dollars betting on illegal drag races between rare exotic cars. That’s just what L.A. pimp/record producer Infamous (Eddie Griffin) movie mogul Jerry (Tim Matheson) and a sociopath counterfeiter known to his family as Uncle Mike (Angus MacFadyen) like to do with their free time and seemingly endless piles of cash. These guys will gamble on just about anything: For example they bet $1 million Uncle Mike’s nephew can drive from L.A. to Las Vegas in under two hours. An impossible feat made more so by driving at night racing at speeds of over 200 mph through windy desert roads using special night goggles and zipping past CHiPs unnoticed like the Road Runner. But the annual multi-million dollar race is coming and Infamous needs a driver. Enter the movie’s hero and narrator Natasha (Nadia Bjorlin) who has retired from racing and is busy pimping rides and fronting a hair-metal band. After some teasers the mega-stakes illegal drag race kicks off deep in the Nevada desert where a fatal mistake costs one racer their life and another their freedom. The script gives little if any help to the actors in this scattered camp-fest meets a misogynistic hip-hop video—starting with funnyman Eddie Griffin basically doing standup and one-liners throughout. Angus MacFadyen (Saw III) brings some presence to the drowning film with his shell-shocked Martin Sheen/Apocalypse Now parody—strange drunken dances to boot. Veteran actor and man of a thousand bad parts Tim Matheson--who has managed to stay afloat with B movies since his glory days as Eric “Otter” Stratton in Animal House--actually seems to be having a little fun here. Sadly though the rest of the supporting cast is easily forgettable and at times comes off a little too much like the cast of a late night Cinemax skin-flick. Too bad Redline is PG-13. Redline is Andy Cheng’s (End Game) second time helming a feature film but he is no stranger to movie sets as his past credits include a myriad of stunt coordination work in films like Rush Hour and The Scorpion King. A lot of his early work was spent on Jackie Chan films which explains a lot about his directing style with Redline. Part of the charm of a Jackie Chan film is well Jackie Chan and all his amazing moves but take out Chan and leave the ridiculous cartoon characters and inane plots that surround his Hong Kong reels and you have Redline. Amidst the awkward one-liners and misplaced acrobatic fight scenes choreographed to unidentifiable hip-hop music some of the car races--as when a Porsche 911 takes on a $1.2 million Ferrari Enzo--are actually quite cool. This is where Cheng really shows his chops and he makes the most of his limited resources creating a really tacky however absolutely superbly bad-funny cult classic. Redline would have made an excellent double-feature back in 1975 alongside Death Race 2000 boasting: “See the world in the year 2007 where decadence rules and reckless millionaires live and die by fast cars and even faster women.”
December 13, 2002 4:56am EST
As Star Trek: Nemesis begins its journey the U.S.S. Starship Enterprise is enjoying Officer William T. Riker (Jonathan Frakes) and Counselor Deanna Troi's (Marina Sirtis) wedding reception. But the celebrations come to halt when Engineer La Forge (Levar Burton) detects some sort of electromagnetic signal coming from the nearby planet Kolaris III. A crew from the Enterprise heads to the planet to investigate and finds scattered body parts of what looks like an android prototype of Lt. Commander Data (Brent Spiner). Before they can put the android back together again Captain Jean-Luc Picard (Patrick Stewart) receives a message from Admiral Janeway (Kate Mulgrew) that the Romulans have undergone a revolution and their new Praetor (leader) wants to discuss peace with the Federation. But when a hesitant Picard and his crew arrive on the planet they discover that the Praetor Shinzon (Tom Hardy) is not actually a Romulan but a human from Romulus' sister planet Remus. And not only is he human--he's a younger clone of Picard. Shinzon is hell-bent on revenge and wants to destroy everything in his path including the Enterprise the Federation and Earth but first he has a score to settle with Picard. Meanwhile Data struggles with what to make of his own double B-4.
Stewart's Picard faces his most personal enemy here in Shinzon and must grapple with heavy moral issues. Although Shinzon is maniacal and antagonistic Picard cannot help but wonder if he would have turned out the same way had his life been like Shinzon's. Stewart delivers a great performance as his character finds his judgement clouded by Shinzon. Shinzon as played by Hardy (Black Hawk Down) with a shaved head and a sculpted latex nose and chin is believable as Picard's doppelganger (although I hate to say that with the pale skin and scarred lip he looks an awful lot like Mike Myers's Dr. Evil). While Picard and Shinzon are dealing with their own issues Spiner's Data is going through his own personal turmoil. His prototype recovered on Kolaris III B-4 is not as advanced as he is prompting Data to turn him into a better android. Not since the Star Trek TNG episode "The Measure of Man" has Data's character been explored so in depth. Cast members Frakes Sirtis Burton and Michael Dorn (Worf) take a back seat in Nemesis allowing the film to focus on the main story line involving Picard Shinzon and Data.
Nemesis was directed by Star Trek newcomer Stuart Baird who stays true to the franchise's tradition by delivering a film that encapsulates a good story with great dialogue without going overboard on the special effects. As the film opens for example the crew has been forced to land on Kolaris III the old-fashioned way since an ion storm has disrupted transporting capabilities. Baird provides some great footage of the planet's surface which is bathed in sepia-toned light complete with the some great shots of the crew riding around in the Argo a sort of high-tech dune buggy. Scribe John Logan (Time Machine) introduces an interesting new race the Remans and a personal foe with Shinzon who although not as menacing as the Borg or as complex as Kahn is just as warped. The most compelling aspect of the film however has to do with Data and his desire to be the best "person" he can be. Nemesis encompasses the kind of dramatic storytelling that made the series created by Gene Roddenberry more than 25 years ago so intriguing. It is also a reminder of what the series was all about: "To explore strange new worlds to seek out new life and new civilization..."
This is a tough one to judge. You never get any explanation of who these people are or why they do what they do; if you don't know the video game you're basically thrown into Tomb Raider blind. Just go with it and figure it'll all make sense eventually. It does--for the most part. Lara Croft (Jolie) who is carrying on her deceased father's (Jon Voight) work as an English archaeologist/antiquities hunter uncovers an ancient puzzle that she must solve before it's too late. Centuries before a mysterious otherworldly object with a godlike power to alter time was split in two and the pieces buried in tombs on opposite ends of the earth. Jolie must race against time to find both halves of the object and destroy it before a leader of an evil secret society (Iain Glen) gets his hands on it.
With her long dark braid and impossible figure (thanks to some stuffing up top) Jolie certainly is a dead ringer for über-heroine Croft. Her hoity-toity monotone Brit accent is sporadic and fleeting; she slips in and out of it as often and easily as she does impending death. Our globetrotting superwoman switches languages as needed winning over Buddhist monks and little Mongolian girls in the process (tell me please how she wears a T-shirt while dog sledding in Siberia while everyone else is bundled up in parkas? That bra must've been padded with Thinsulate). Jolie can kick butt with the best of 'em but she's tiresome. All arch looks and badass 'tude this Kelly-LeBrock-for-the-new-millennium is not terribly much fun. Granted Croft has serious work to do but a little lightheartedness goes a long way. Raiders of the Lost Ark this ain't.
Given that there's little story line acted out by characters with whom it's hard to connect since you have no idea who they are the movie surprisingly manages to keep your attention for a couple hours. Then again that could be due to the tremendous and seemingly never-ending clamor on screen where every few seconds a hailstorm of bullets showers the scene or really big things are happening--gargantuan rock statues turn into sword-wielding CGI beasts enormous retro-futuristic contraptions like something out of Brazil materialize from the earth beams of light descend from the distant beyond. Or maybe it's just the mesmerizing effect of waiting for Jolie's lips to crawl across her face like two fat slugs going after the magic jasmine Daddy Croft told Lara about.