Category: Stellan Skaarsgard

THE HUNT FOR RED OCTOBER

By Marc S. Sanders

John McTiernan’s adaptation of Tom Clancy’s first bestselling novel, The Hunt For Red October, might seem dated but it’s still a crackling good thriller. It’s one of those films where you truly feel like you’re walking through the secretive hallways of DC government buildings with their elevators accessed only by an Admiral’s key. Soon you’re in a dark, underground boardroom. You’re also there on the various naval crafts and submarines with alarming lights, shiny steel and glowing monitors. The biggest treat is being in the command center of the titled sub, Russia’s Red October, commanded by their captain, Marko Ramius (Sean Connery). All in all, Terence Marsh built a convincing production design.

Clancy’s story takes a different approach than most thrillers involving Cold War politics. Ramius might have been a James Bond villain in another film as he hijacks Red October, but there’s more to him actually. Rather, Ramius wants to defect to the United States. Most of his command crew is in agreement as well. America doesn’t necessarily see it that way; a Russian, missile equipped submarine quickly approaching the eastern seaboard with other subs following him?!?!?!? Let’s not polish the tea set so quickly.

Fortunately, one man had the pleasure of meeting Ramius once and doing extensive research on the General’s background; Jack Ryan (appropriately cast with a young Alec Baldwin). Ryan is given three days to catch up to Ramius and guide him safely to the United States while avoiding getting the famed submarine shot down by either power nation.

I must point out my favorite scene and it actually takes place in that secret boardroom where it dawns on Ryan of Ramius’ true plan. Baldwin is great here. The young guy who is green when it comes to military and political protocol. McTiernan gets his company of generals and high ranking officials into a large quarrel over what to do and then he zooms in on Baldwin thinking for the close up before he calls Ramius a SON OF A BITCH. It’s at this moment, that the movie going consensus and fans of Clancy overall determined that Alec Baldwin was the best of the cinematic Jack Ryans. (No slight to Harrison Ford, who was too middle aged for the role when he took the part).

Connery at least has the commanding appearance of Ramius’ stellar reputation. He is not very exciting or charismatic. Then again, I don’t think Clancy built the character that way. Connery plays the role as silent, yet wise and experienced as implied by his well groomed, white beard and hairpiece plus his square stature. If this man is standing in your presence, you better give him an update. You shouldn’t have to ask if he wants one.

Good moments are made available to Scott Glenn, James Earl Jones, Sam Neill and Stellan Skaarsgard as well. It is the talking scenes among all these fabulous actors that really build tension. The underwater scenes…not so much. The subs look like long, black blobs weaving their way through depths and avoiding missiles coming their way. It’s forgivable because McTiernan always keeps the characters at play. This isn’t a film that relies on the dog fights depicted in Top Gun or Star Wars. McTiernan keeps his audience away from drowning in the underwater murkiness.

The makers of this yarn really are a great combination of imagination. We got Tom Clancy and John McTiernan to thank for a gripping tale from 1990 that still holds up today. The Hunt For Red October is definitely a film worth revisiting.

RONIN

By Marc S. Sanders

John Frankenheimer directed the exceptional thriller Ronin, featuring Robert DeNiro and a band of baddies all hired to intercept a mysterious suitcase. The contents are never revealed, and it really doesn’t matter. It’s the pursuit that’s important. Consider this a glossier version of Reservoir Dogs and Pulp Fiction. Not big on exceptional dialogue but huge on top notch car chase action.

Frankenheimer works with a script co-written by J.D. Zeik and David Mamet (using a pseudonym), and all that’s necessary to assemble a gripping two hour story is to have the characters team up, then abandon each other and then double cross each other. How do you identify professionals like these? Well, recruit Michael Lonsdale (former Bond villain from Moonraker) to explain the meaning of the samurai known as Ronin who have become masterless; skilled swordsman with loyalty to no one any longer.

DeNiro plays “Sam” who may be former CIA. He’s one of five men hired by an Irish woman named Deirdre (Natasha McElhone) to retrieve the well-guarded package. This entails intercepting a convoy of cars riding along the French countryside. The fun in the car chase action of all this is that the characters are implied to be at least as ruthless as the subjects they’re stealing from. Therefore, Frankenheimer and his team of 300 (yes, that number is accurate) stunt drivers can offer up reckless collateral damage; cafes are crashed into, buses flip over, and motorcycles skid out of control. It’s Vice City before there was ever a Vice City video game. These guys are not stopping for little old ladies crossing the street.

Jean Reno partners up with DeNiro for a time as a Frenchman and Stellan Skaarsgard plays a German ex-KGB agent. Eventually, Jonathan Pryce comes in to play as well, representing more Irish influence. Sean Bean is here too. (Have you been paying attention? That’s three Bond villains in one movie!!!!) All good casting.

That’s about all there is to say. The plot is deliberately thin with a slight, mediocre twist, and a romance that’s nothing truly interesting.

Still, Ronin is watchable. Frankenheimer and his cinematographer, Robert Fraisse, present awesome locales of a thriving Europe from 1998. Editing is quick and sharp too. Consider Ronin a precursor to Paul Greengass’ Jason Bourne films.

If nothing else, beyond the various car chases and high stakes shootouts, DeNiro had me convinced he was clearly instructing his colleagues on how to remove a bullet from his gut.

Yes. You pretty much see everything.

AVENGERS: AGE OF ULTRON

By Marc S. Sanders

The character of Ultron, a terrorizing cyborg, has been a favorite Marvel Comics villain of mine ever since I discovered him in 1984 during the Secret Wars 12 issue limited run. He looked sinister with a devilish face in the shape of a metallic claw. His sonic blasts appeared more destructive than anything else ever drawn on the page. Ultron was a badass!!! (“Language!”). That being said, the cinematic interpretation is quite different, yet he’s modeled on a much more grown up sculpt.

Ultron is still a terrorist bent on utter destruction, but now he has a disregard for man. He’s written quite inventively as a direct contradiction to arguably the favorite of all the Marvel cinematic characters, Iron Man aka Tony Stark. How fitting that James Spader is cast opposite his former brat pack cast mate (Less Than Zero), Robert Downey, Jr. It is really uncanny how the dialect of Spader’s limitless Ultron can sound just like Downey’s genius Stark but with a means of annihilation; “All of you against all of me.” Ultron is smart first, powerful second. He’s not just a monochromatic android. There’s a means to his end and an inventive science to his purpose; uproot a country high in the sky and then DROP IT BACK DOWN INTO THE PLANET, like an anvil flattening Wile E. Coyote. It’s actually more novel than I’m giving it credit for.

Most Marvel afficianados from the blogs, and fellow colleagues as well, do not care much for this chapter in the MCU. I have yet to understand why. Again, each character is really drawn out beautifully by Joss Whedon with a respective storyline. Finally, Jeremy Renner’s Hawkeye is given some oomph to his back story. So is Paul Bettany as the other cyborg, Vision, formerly J.A.R.V.I.S, the artificial intelligence.

Vision/J.A.R.V.I.S. outshines Data (“Star Trek: TNG,” apologies to my friend, Jim Johnson), but will never top C-3PO. I like how he’s introduced as an amalgamation of all of the film’s main characters’ abilities. Bruce Banner and Tony Stark, Thor, Ultron, Scarlet Witch, some brilliant doctor friend, and even the nation of Wakanda. They all have a piece of themselves in Vision. It’s a better story than the comics ever suggested. Maybe I’m biased having grown up on these stories, but the Vision element makes me want to clap every time I see it. So inventive and economically told for a two-hour film with a ginormous cast. Vision’s introduction is one of the best scenes in all of the Marvel Cinematic Universe.

A great device to unhinge most of the Avengers comes through by means of Elizabeth Olsen’s Scarlet Witch (identified as Wanda Maximoff) who cripples them with mind control. How else should a sorceress take out a whole lotta muscle? It works and it gives Olsen conflict to play with. The visual effects surrounding her are also pretty cool. Sure, it might be just some neon red mist, but the cinematography and CGI surrounding her look gorgeous.

This installment also serves as neat set up for what’s to come. Quick Easter Egg in Age Of Ultron: Tony Stark Name drops the term “Endgame.” Oooooooo!!!!!!

It is really admirable what Marvel and Disney have done with the MCU, and especially watching this film. It’s ironic how filmmaker James Cameron made a statement hoping for “Avengers fatigue” so the phenomenon can die down in movie houses, etc. Funny! For me, seeing all of Ultron’s toys and wit seemed to outshine quite a bit of the residuals spawned from Cameron’s Terminator franchise.

Whedon wrote and directed a film with much more intelligence, wit, at least as much action, and threat than I ever got from Cameron’s reputation of clunky dialogue and plot hole time travel storytelling. It would do Mr. Cameron well to maybe not throw stones at the glass Avengers towers. I’m skeptical that his upcoming FOUR Avatar films will carry the smirk inducing cues the MCU has used to its advantage.

THOR

By Marc S. Sanders

Chris Hemsworth is the God of Thunder who must learn to grow up if he is to inherit the throne over the land of Asgard from his father Odin (a welcome Anthony Hopkins), and more importantly become worthy of lifting his mighty hammer. Hemsworth is great; full of cocksure assuredness, humor and heroics. Chris Hemsworth makes you believe he’s the only guy who could play Thor.

Thor’s adversary is the God of Mischief, Loki played by one of Marvel’s best actors, Tom Hiddleston. This is a guy who plays so many different levels. If one didn’t know the story of Thor and Loki, I’d argue they might be shocked at some of the turn of events Hiddleston masterfully orchestrates with simple facial expressions and passiveness that progressively switch over to madness, obsession, jealousy, envy and deceit. Hiddleston effectively spins all the plates perfectly.

Natalie Portman plays the love interest carrying the torch of least significance that Liv Tyler and Gwenyth Paltrow held in prior Marvel films. That’s a pattern the Marvel films will begin to improve upon with the next film in line.

Director Kenneth Branagh is the right guy for this movie. Inspired Shakespearean settings and dialogue overlap with modern day America. Branagh brings a nice balance to it, and he also directs his actors well. A great exchange of dialogue and performance occurs midway through between Hiddleston and Hemsworth. Branagh gets good close ups of both actors as the conniving villain manipulates the naive hero. The camera angles move at a slant almost evoking a necessary confusion between what is true and what is a lie. Moments like this allow Thor to be more than just an action film. There are nice opportunities for acting as well, and because of that Hiddleston especially has become quite treasured among loyal fans.

Compliments must also go towards the setting of Asgard. I normally frown on immersive CGI normally. Not here though. Asgard is as regal as anything Peter Jackson offered in his Tolkien films, complete with a striking rainbow bridge and towering structures. I want to tour through that whole land. It’s that spectacular. Characters also work well with the CGI, especially the fire breathing, metallic Destroyer.

Thor is a great introduction to the legendary comics character. The film offers a character arc of change much like what was captured with Tony Stark in the first Iron Man. The character must grow and learn about his identity over the course of the film in order to have legs for future installments. This film accomplishes that feat, and thus Chris Hemsworth has become a box office draw while his most popular character to date has become a screen favorite.

MAMMA MIA!

By Marc S. Sanders

So at the urging of a close friend of mine, Alicia Spiegel, we all jumped in to watch the Dancing Queens, from the celebrated musical, Mamma Mia!

It’s a fun family film full of gorgeous, eye popping colors.  REALLY EYE POPPING!!!!!  Stay for the closing credits.  Wow Pierce Brosnan! You sure took a huge leap from James Bond here, that’s for sure.  Liberace, and maybe Elton John, would even blush at having to wear some of the costumes on display.  Naturally there are the big musical numbers as well, and big, I mean HUGELY ASTRONOMICAL MOMENTS OF JOY AND CHEERFULNESS!!!!  Jeez, the excitement of Meryl Streep, Amanda Seyfried, Christine Baranski and company make happiness look like an incurable disease. 

The sugar coated, dipped in maple syrup, and showered in Jolt Cola corniness of Mamma Mia! is so sweet, you’ll have a fresh cavity by the time the film reaches its halfway point.  Still, during these challenging times,  it’s not so bad I guess, and likely just what we all need.  

The film concerns itself more with having fun than anything else amid a simple story of a young bride secretly inviting three likely candidates (Brosnan, Colin Firth and Stellan Skarsgard), one of which is potentially her biological father, to her upcoming nuptials, which will take place on the Greek Islands.  This welcomes awkward moments for the gentlemen when they each reunite with Streep.  It’s all very sitcomy.

The soundtrack uses the disco book of ABBA, complete with Waterloo, Take A Chance On Me and of course Mamma Mia!.  Though I appreciate the music of ABBA, my main issue is that other than two numbers (Slipping Through My Fingers and my favorite The Winner Takes It All), I could not see how any of the remaining music meshes with the story.   How do the lyrics of these songs drive the story of the musical?  I could not make a connection, and so I found myself asking why are they suddenly breaking out into Dancing Queen, for example.  What does this show stopping number have to do with the structure of the story?  The cast could have just as easily broken into We Will Rock You or Walk Like An Egyptian, and the lyrical relevance to the plot would have been just as separated.  No character sings a song that identifies with their respective purpose to the story.

Meryl Streep always challenges herself.  No two characters of hers are really ever the same, and thus she’s able to pull off a musical lead effectively.  I heard people frowned on Pierce Brosnan’s vocals, but I didn’t take issue.  I liked his duet with Streep.  Seyfried is a good compliment to Streep in a mother/daughter relationship as well.  Christine Baranski as Streep’s best friend is welcome and over the top silly escapism.

It won’t ever be my favorite film musical, but if I’m at a friend’s house and the majority wanna turn this on, then I’ll watch and enjoy the whole gang getting swept up in the Greek Isle setting of Utopian celebration and happiness.  I just won’t need to snack on my Mike & Ike’s or sip on my extra large Coke.  There’s already enough sugar emanating from the screen.