The Man with the Iron Fists the directorial debut of music artist RZA is clearly a love letter to all of the Wu Tang frontman's passions. An old school kung fu movie infused with hip hop beats and a comic book aesthetic Iron Fists rarely makes a lick of sense but it's a collage of imagination — and that earns it a few points. Like a cinematic version of the backyard games we all used to play RZA casts himself as a Chinese town's resident badass who teams up with a cowboy to take down an army of ninjas assassins. The freeform style allows him to run wild rarely providing actual thrills but resulting in an action movie overflowing with heart. Bloody bloody heart.
The manic script for Iron Fists written by RZA and Eli Roth (Cabin Fever Hostel) interlocks a handful of colorful characters with varying degrees of success: The Blacksmith (RZA) a freed slave who hopes to earn enough bucks to whisk his love prostitute Lady Silk (Jamie Chung) away from the Pink Blossom brothel; Madam Blossom (Lucy Liu) the brothel's owner (and local mobster); Silver Lion (Byron Mann) a murderous gangster out to overtake the city with the help of his magical metallic underling Brass Body (Dave Bautista); Zen Yi a.k.a. The X-Blade (Rick Yune) whose father was killed at the hands of Silver Lion and now seeks revenge; and Jack Knife (Russell Crowe) a mysterious British gunslinger taking residence at the Pink Blossom who may have ulterior motives. Iron Fists bounces between the plot threads without much worry — you never really know who is doing what or why. But if characters say what they're thinking with conviction then beat the daylights out of their opponent it's supposed to suffice. More often than not it does.
What Iron Fists lacks in coherency it makes up for in absurdity. RZA pumps up the volume on every element of the film from costumes that shoot daggers to flamboyant overacting evildoers to Jack Knife taking the goriest route to defeat an enemy (in this case using a knife gun to rip up a heavyset man's insides). Taking a page from mentor Quentin Tarantino's book anything can happen in this Eastern martial soap opera and everything does happen. It's money shot after money shot the rapid pace reminiscent of channel surfing — likely the way most kung fu fans stumbled upon the type of films that inspire Iron Fists back in the '70s and '80s.
Not every moment pops — unlike Liu and Crowe RZA doesn't exactly light up the screen when given the freedom to go crazy. Blacksmith is a muted mumbling character who doesn't throw himself into a fight the way a kung fu movie demands from its lead. Behind the camera the fight scenes are choreographed similarly to how the movie is structured: randomly with the occasional inspired moment. But the inventiveness of the mechanics keeps Iron Fists working. A scene with two twins using contortion to throw and kick and punch their way through hoards of bad guys is a joy. Seeing Crowe (obviously not an expert in martial arts) lay down a few moves is pure fun too.
The Man with the Iron Fists isn't as expertly crafted as Tarantino's Kill Bill but it has more mind-boggling oddities. RZA unleashes his passion into the film so even when the story or action isn't working something else on screen is.
Beneath the glossy sheen of Zac Efron there exists the makings of quite a fine actor glimpses of which were seen in both the blockbuster comedy 17 Again and the indie drama Me and Orson Welles. His transition out of the Disney-fied teen-dream world and into more adult-oriented projects is a gradual uneasy one as is evidenced by his latest film the metaphysical drama Charlie St. Cloud which finds him perched squarely in between the two camps. Efron it appears is in that awkward stage.
In Charlie St. Cloud Efron plays the title character a carefree college-bound sailing star whose bright future is torpedoed when an awful auto wreck takes the life of his beloved kid brother Sam (Charlie Tahan). Charlie at the wheel of the car at the time of the crash briefly dies himself only to be wrested from a flatline by a particularly stubborn and spiritual EMT (Ray Liotta).
Years later Charlie’s body has made a full recovery but his mind remains plagued by some nasty after-effects of the tragedy. He’s given up sailing ditched his college plans gotten a job at a cemetery and taken up the habit of holding regular conversations with dead people — specifically his brother Sam with whom he meets daily in a forest clearing to play catch. Usually such mental deterioration coincides fairly closely with physical deterioration which is why you don’t encounter a lot of well-groomed paranoid schizophrenics on skid row. But Charlie has kept up with his workout and grooming regimens earning a reputation among the residents of his sleepy Pacific Northwest town as a sort of beautiful nutcase.
Unable to escape his all-consuming grief Charlie seems doomed to retreat further into isolation and despair until salvation arrives wrapped in a cardigan: Tess (Amanda Crew) a feisty pro sailor and no stranger to tragedy herself can see beyond Charlie’s unhinged persona to the sensitive troubled and irresistibly hot man that lies beneath. As their relationship deepens Charlie is increasingly torn between his imaginary friends and his real-life love.
It’s a noble aim giving tweens questions deeper than just “Edward or Jacob?” to contemplate and Charlie St. Cloud’s principal message “life is for living ” is a worthwhile one. But director Burr Steers having learned from the success of 17 Again clearly knows where his bread is buttered and so he takes care to sate the demands of Efron’s screeching fanbase by stocking the film with ample glowing shots of his star lovingly lit and clad invariably in a light blue solid color shirt and emoting against a picturesque coastal landscape. (Lest you think I'm exaggerating check out this studio-supplied promo clip featuring an interview with a shirtless Efron.) The awkward mix of existential drama and Abercrombie & Fitch commercial combined with a healthy dose of loopy Sixth Sense-esque supernatural shenanigans tossed in toward the end makes for an experience only the most fawning of Efron’s fans could enjoy.
Paranormal Activity’s unlikely run atop the box-office chart may have come to an end but the moviegoing public’s nascent fascination with otherworldly phenomena — the unfriendly variety in particular — shows no signs of waning. The Fourth Kind a supernatural thriller from writer-director Olatunde Osunsanmi represents Hollywood’s latest attempt to capitalize on this peculiar trend.
Paranormal Activity and The Fourth Kind are very different movies to be sure but they share the same basic approach employing gritty documentary-style footage to convince us that what we’re watching unfold onscreen is more “real” — and thus more convincing — than the typical glossy Hollywood thriller.
But The Fourth Kind goes far beyond Paranormal Activity in its effort to establish its legitimacy. In an unprecedented — and exceedingly ballsy — maneuver star Milla Jovovich begins the film by breaking the fourth wall and addressing the camera directly. In a lengthy monologue she introduces herself as “actress Milla Jovovich ” explains that she’ll be portraying real-life psychologist Dr. Abigail Tyler and declares that the documentary footage scattered throughout The Fourth Kind is authentic recorded during a sleep-disorder study conducted in Nome Alaska a few years ago.
Why Nome? Because we’re told its citizens are afflicted with an unusual number of nighttime sleep disturbances the bulk of which are accompanied by terrifying visions of hostile alien-like creatures. Nasty fellows these extra-terrestrials are taunting and tormenting and probing their victims as they lie helpless paralyzed with fear. Some of the otherworldly visitors even have the audacity to take possession of their somnolent subjects using them as vessels to deliver ominous warnings to Abby and her colleagues. Speaking in ancient tongues with voices horribly distorted they demand that she end her research.
But Abby won’t listen to them and her persistence effects increasingly dire consequences. One of her afflicted patients kills himself and his family; another is paralyzed after levitating during a harrowing hypnotic episode; finally the aliens set their sights on Abby herself. One might be tempted to dismiss these episodes as merely the hallucinations of a badly traumatized woman — the classic unreliable narrator — if it weren’t all captured on video.
For those willing to buy into The Fourth Kind’s claims of authenticity the experience is at times genuinely terrifying. But after a while it becomes increasingly obvious that the film’s documentary sequences are staged — and often badly so. Director Osunsanmi brought a clever idea to the table but he didn't quite have the skills — or the actors — to pull it off and the result feels like an elaborate cinematic con job.
October 25, 2002 1:51pm EST
Captain Sean Murphy (Gabriel Byrne) leads a salvage team of five people aboard the tugboat Arctic Warrior with Maureen (Julianna Margulies) as something of a second in command. At a bar one night the crew is approached by a Canadian Air Force pilot (Desmond Harrington) who while monitoring icebergs in the Bering Sea spotted a mysterious vessel. He offers to divulge its location for a cut of whatever it's worth. What the crew finds are the decaying remains of the Antonio Graza an Italian cruise ship thought to be lost at sea for more than 40 years. While scavenging the vessel for valuables the salvage team discovers that something horrendous happened on board four decades ago. To make matters worse the crew starts seeing ghosts including a little girl named Katie (Emily Browning) who warns them to get off the ship before it's too late. Let's just say that the plot involves something about a ghost tricking people into boarding the ship in order to amass a certain amount of souls and complete a mission of sorts. Don't be surprised if you find yourself scratching your head when the ghost's true intentions are revealed--the film leaves many questions unanswered.
Former ER star Margulies (Dinosaur) shares the lead here with Byrne (End of Days) and the most refreshing thing of all is that there is no romance between the two characters. Maureen is a tough and independent woman who has no qualms about living at sea with a bunch of grubby men and Margulies portrays that well. We are told that Maureen and Byrne's character Murphy have a father-daughter-type relationship but that is not explored on screen. While Byrne plays a convincing rugged sea captain his character is never delved into and is dismissed rather abruptly. In fact that is the biggest problem with most of the actors and their characters; they are more like slightly more developed extras brought in to become victims rather than the film's protagonists. Harrington's (We Were Soldiers) character Jack is not as glazed over as the others and the actor conveys the different sides of his personality well enough. The rest of the crew including Ron Eldard as Dodge Isaiah Washington as First Mate Greer Alex Dimitriades as Santos and Karl Urban as Munder do the best they could with the flat and disposable characters they are given.
Ghost Ship opens up with a fantastic scene that involves hundreds of crewmembers and passengers getting dismembered by a high tension wire that slices across the boats main deck. Too bad it's so implausible because unless the wire was lined with razor blades all those bodies wouldn't have been severed so neatly. The massacre is set aboard the Antonio Graza back in 1962 when cruises were still considered a luxury. But when the film zips back to present day it becomes less imaginative and director Steve Beck (Thirteen Ghosts) dips into the old haunted-stories bag o' tricks including ghost reflections in mirrors. But while the gags are a little worn they still scare and are constant enough to keep the film from lagging. The film comes in under 90 minutes which isn't short enough to graze over some of the story's plot holes. The characters for example jump in and out of the icy Bering Sea without the slightest quiver even though their survival time in the 45-degree waters would be measured in minutes. And if Ghost Ship sounds familiar that's because it was made in 1997 and called Event Horizon except that rescue mission was set in the year 2047 aboard a space ship.