Documentaries (as with any film category) vary in quality when it comes to various subjects, whether it be historical overviews, biographies or propaganda. I'm pleased to report that the latest on the Creature from the Black Lagoon (from Shadow Play Enterprises) is one of the best to emerge, paying comprehensive homage to the Gill-man and his creators.
However, much of its historical content has been covered before in articles, books and Universal disc supplements. What distinguishes director Matt Crick's "Creature Feature: 60 Years of the Gill-man" is the fan appreciation. "Creature Feature" is to "Creature from the Black Lagoon" what "Trekkies" is to "Star Trek": a celebration of a phenomenon that refuses to die and only gets bigger with the passing of time.
As scripted by Sam Borowski and narrated by Keith ("The Thing"/"They Live") David, the celebration initially recounts how Jack Arnold became assigned to direct due to his success on "It Came From Outer Space"; how Arthur Ross made the Gill-man sympathetic and less bestial; how such prestigious stars as Richard Carlson, Richard Denning, Julie Adams, Whit Bissell and Antonio Moreno became part of the tapestry. It also grants proper credit to Millicent Patrick for designing the Creature and Chris Mueller for sculpting the costume; and we shouldn't forget those courageous men who articulated our star: Ben Chapman and Ricou Browning in the original; Tom Hennesy in "Revenge of the Creature"; and Don ("Tales of Frankenstein") Megowan in "Creature Walks Among Us."
To the filmmakers' credit, the late Chapman covers a large sum of the documentary, culminating in a convention re-teaming with Browning. The cheerful Julie Adams is also present throughout the proceedings. Each appears sincerely appreciative of being part of the franchise and the admiration awarded them.
The featured fans are quite diverse. Some are celebrities, like Benicio ("The Wolfman") Del Toro and character actor, Daniel Roebuck. Some are Gill-man historians, like David Schow and Bob Burns. Others are exclusive Creature collectors, like Johnny "Arizona Gill-man" Gilbert and Scott "Gill-Boy" Erhard.
The stories shared add to the sentiment, from Gilbert reminiscing on his yearning for a bendable Gill-man from the Easter Bunny to Chapman's encounter with Marilyn Monroe and the sly way his movie persona was revealed to her through Peter Lawford.
The documentary also highlights the Gill-man conventions. One scene, featuring Ed Bowkley (the Creature from the Black Lagoon Yahoo Group President) and his tribute tattoos, is worth the price of admission alone, as is acclaimed makeup artist, John Goodwill, transforming an audience member into a Gill-woman. As a special treat, the Wakulla Springs, Florida convention, which caps the film's later half, offers a boat tour where the first two chapters were filmed, its lush scenery seemingly unchanged since the mid-fifties.
On the whole, "Creature Feature" is a tender-loving essay on how we attach the best moments of our lives with those things--or more precisely, those creatures--that impact us when we're young. Those impressions, like the Gill-man, are part of who we become, defining our sense of wonder and appreciation for the unique and wonderful. "Creature Feature" captures that fondness with care and grace: a sentimental journey designed to supplement one's most cherished, monster memories.
Supergirl has gone through various incarnations from comics to the screen over the decades. She's now portrayed by Melissa Benoist in a CBS television series of her own, with Helen Slater (the original movie Supergirl) and Dean Cain ("Lois and Clark'"s Man of Steel), as Kara Zor-El/Kara Danvers' surrogate parents.
Jimmy/James Olsen (Mechad Brooks) is a regular, though no longer employed by the Daily Planet. He now works with young Danvers for Cat Grant (Calista Flockhart), owner of Catco, a massive media corporation, located in National City. Lucy Lane (Jenna Dewan-Tatum), Lois' little sister (and in this instance, Olsen's ex), will make occasional appearances. On the other hand, Danver's surrogate sister, Alex (Chyler Leigh) will act as her inspirational constant.
There seems to be some debate, based on those I've conversed with these past months, as to whether the Girl of Steel should be portrayed in her more recent, sultry mode or in a traditional, golly-gee manner. Personally, I fancy both extremes, but see nothing wrong with the wholesome approach, which the trailer certainly conveys. Playing it by the heartfelt straight-and-narrow is good for family viewing, and really, when all's said and done, that's the most respectful way to depict the character, regardless of the lurid fantasies some of us may harbor for her. (Besides, there's always plenty of Laura Vandervoort "Smallville" footage to savor.)
Anyway, I'm looking forward to the premiere. As I've been doing with DC's live-action Flash, Green Arrow and "Gotham", I'll offer my occasional reflections on the continuing adventures of Kal-El's caring cousin.
(The only thing is: how will the producers continue to handle Superman's indirect presence in the grand scheme of the show? To me, that'll be tricky, but even if they stumble in the attempt, such shouldn't make the ride too less enjoyable.)
The western genre is as vast in adventure and blunt-edged drama as any science-fiction and/or dark fantasy, even comparable to those spirited tales of knights and space rangers old and new. Still, not all fans are apt to leap among the categories, but there are those occasional entries that have crossover appeal. On this basis, I'm boldly going out on a limb and reviewing Kristian Levring's auspicious "The Salvation".
Just on the grounds of its cast, the film ought to catch the attention of imagi-movie lovers. It stars Mads Mikkelsen ("Hannibal"); Jeffrey Dean Morgan ("Watchmen"); Jonathan Pryce ("Something Wicked This Way Comes") and Eva Green ("Penny Dreadful"). Also, its air of austerity places it alongside "Mad Max", with hints of sadism one would likely find in a "Texas Chainsaw Massacre" entry. However, its longest roots reside in the lonesome "High Noon", the embittered "High Plains Drifter" and the gritty films of Sergio Leone, hammered hard with Steve Ditko's clear-cut divide between good and bad.
Written by Levring and Anders Thomas Jensen, "Salvation" centers on Danish ex-soldier/immigrant, Jon Jensen (Mikkelsen), who along with his wife and son is attacked by a couple cretins on a stagecoach ride to their new home. His wife is raped, and she and their son later murdered by the fiends. Jon hunts the men down and kills them; then returns to his family's once intended abode to mourn.
What Jon doesn't realize is that one of the slain men is, in fact, the brother of land baron Colonel Henry Delarue (Morgan), who (in addition to taxing folks of Black Creek for imaginary protection) demands revenge. Initially, he blames the timid townsfolk, including the undertaker/mayor, Nathan Keane (Pryce) for the events (whatever they might possibly be) that led to his brother's death. This leads to three of their own being chosen for sacrifice, including a legless man and a grandmother who runs the general store. Delarue shoots each, but acknowledges the desperate charade and insists that the actual "culprit" be uncovered, or else...
Soon thereafter, Jon and his bother, Peter (Mikael Persbrandt) head to town, with Jon intent on selling his land back to Keane. The mayor agrees to pay him, but no sooner is the deal sealed that Jon is pinpointed and along with his brother, tracked and imprisoned.
Delarue decides to torture Jon, who bravely claims his act of vengeance, and from there the poor man endures a frightening plight, assaulted by Delarue's henchman (Eric Cantona) and eventually placed on Christ-like display in the blazing sun. Also, as an ugly warm-up to these horrid circumstances, he's accused of having been too harsh on the men he killed. This preposterous blame adds to Jon's sad fate, but also increases our yearning for justice through his anguished eyes.
While Jon suffers, Delarue has his way with his brother's widow, Madelaine/"the Princess" (Eva Greene), who's position on the proceedings remains initially vague, since her tongue was severed by Indians years prior. Her pained glances, however, imply a possible disdain for Delarue and a need to flee before things worsen.
Meanwhile, the resilient Jon escapes with Peter's help, and though they face recapture and more loss, Jon finds the fortitude to take the law once more into his hands, administering it without mercy or remorse. This is the only way he can find peace of mind, and if he can settle the score, perhaps a chance at personal salvation.
On the surface, Levring's movie may appear a simple, revenge tale, or as it progresses, an essay on the consequences of greed. Indeed, avarice is a catalyst in this story, for we learn that the town is stationed over a precious commodity, only clarified at the movie's end: a motivating factor for Delarue and the behind-closed-doors big-shots who employ him.
However, there's more to the ensuing villainy than just that: the greater evil being the way the townsfolk quiver to the point of hurting their own, becoming as selfish as the primary evil-doers for the sake of self-preservation. Though they work together in their misguided cause, they also look out for number one and thus add to the chaos. This pathetic defense characterizes the town's puppet leaders, including Keane and even the preacher-man Sheriff Mallick (Douglas Henshall), who falls in line with Delarue's every, unjustified whim.
The profuse lack of morality and indifference makes the town similar to those of "High Noon" and "High Plains Drifter". As in those classic westerns, the citizenry creates its own private hell, by shirking responsibility and letting its people perish.
This also makes "Salvation" an excessively dark, brooding western. but also comparable to those adventures featuring the lurid likes of the Dark Knight and Punisher. To reinforce this angle, the shades of gray are cast far to the wayside, growing nonexistent as the climax stirs. The film's dusty, foreboding atmosphere reinforces the latter, thanks to Jens Schlosser's photography and Kasper Winding's haunting score.
However, what really makes "Salvation" tick is its superb acting: Mikkelsen giving a slow-burn woefulness on a par with his award-winning "The Hunt", and Morgan rivals his famous "Watchmen" character, Comedian, with unapologetic callousness. Green, Henshaw, Persbrandt and Pryce are also impressive, giving subdued but nuanced performances that inject realism into the rising disquiet.
"Salvation" is a rough, piercing film, but its fierceness paves a potential path for future adventure films. Imagine the upcoming Boba Fett outing opting for such dark ilk, or a "Star Trek" movie soaring into such uncompromising depths. With that said, "Salvation" is as rare as it's familiar: its execution hard, refreshing and regardless of the potential genre, ripe for emulation.
HAPPY NEW YEAR FROM THE GOOD OL' INCREDIBLE HULK!!!
"Guardians of the Galaxy" is the latest Marvel movie adaptation to emerge this summer. It's based a Dan Abnett/Andy Lanning creation, about a group of gallant misfits, who against seemingly insurmountable odds, surprisingly rise to the occasion.
In James "Dawn of the Dead '04" Gunn's film version, the group starts off less than stellar, with its hero stealing an alluring orb, only to learn the item possesses planet-destroying properties. To prevent the orb from getting into the hands of an intergalactic madman, they must try to put personal concerns aside (a difficult task, considering how passionate they are about them) and go on the run.
Gunn and Nicole Pearlman's script ushers in plenty of action, yet brews constant interaction among its leads, making the story both compelling and humorous.
Among the Guardians are Peter Quill (Chris Pratt), ersatz Star-Lord, a sentimental gent of alien descent; Drax (Dave Bautista), a warrior seeking revenge for his family's murder; Gamora (Zoe Saldana), an attractive, green assassin; Groot (Vin Diesel), a lanky "Lord of the Rings" Ent-ish entity; and Rocket Raccoon (Bradley Cooper), a mutant critter with human attributes.
Along for the ride are Yondu (Michael Rooker), a blue rogue who acts as Quill's questionable father figure; Taneleer Tivan, the Collector (Benicio del Toro), an curator of unusual commodities, some even living; Rhomann Dey (John C. Reilly), a gracious soldier; Korath (Djimon Hounsou), a tenacious tracker; Nebula (Karen Gillan), a surrogate sister to Gamora, with a pretentious allegiance to Marvel legend, Thanos (Josh Brolin); and of course, the main villain, Ronan, the Accuser (Lee Pace), a frightening Sakaaran leader who agrees to seize the orb in exchange for Thanos' pledge to destroy those he perceives as enemies.
This collective spree doesn't pretend to be perfect, nor does its members wish to be. However, for all their flaws, they are shrewd enough to draw the line and pick sides. Distinguishing the Guardians from the others is their willingness to go the extra mile to do good, which firmly defines who they are and who we, the audience, can applaud. Their different backgrounds also give the film a "Star Wars"/"Star Trek" feel, demonstrating how those of varied origins can conscientiously coexist.
Quill is, of course, the yarn's stand-out hero, and a bumbling one at that, but admirable for his ability to lead. In some respects, he comes across as a carefree Han Solo: initially a tad self-centered, but soon seeing the necessity of putting others before himself.
Salanda, previously computerized for "Avatar", presents a similar demeanor. Sporting enticing, old-school make-up, she resembles, for all intents and purposes, a "Star Trek" Orion slave girl, though more inclined to fulfill her mission than indulge in lusty trysts.
She doesn't immediately warm up to Quill, but eventually recognizes his sincerity: a most important plot turn, for often in these sorts of makeshift groupings, friction can prevail between/among characters to the point of irritation. In Gamora and Quill's case, any burgeoning disrespect is quickly squashed, granting the audience a chance not only to get to know them, but actually to like them.
Cooper's Rocket Raccoon, on the other hand, is the film's crassest and cleverest novelty: an equivalent to the sidekicks of past imagi-movies, like the "Star Wars" droids or "Clash of the Titan'"s Bubo the Owl. However, despite his CGI'd confinement, he emerges far more humanized than cartoonish, and if not for his scrawny form, might be seen as recklessly cavalier and heroic and Quill. Similarly, his interaction with Diesel's protective Groot (who expresses impressive variance through a mere looping salutation) contrasts well with the mutant's cantankerous attitude, thus creating a realistic, affably empathetic banter found in most long-time friendships.
Arguably, Bautista's Drax is as equally endearing: at one moment maddeningly incensed and the next warmly naive, particularly in his misinterpretation of metaphors.
Of those on the "dark side", Pace's Ronan is appropriately intimidating: in many respects, the film equivalent to Darth Maul/Vader, but with greater, misguided zeal. Additionally, Del Toro's Collector enhances the film's sinister angle with weird, serpentine gestures and scrutinizing stares. (Too bad his part wasn't made bigger.)
By the time "Guardians" concludes, one will have easily embraced its breezy ambiance and quirky characters as one might that of L. Frank Baum. Heck, the movie even shamelessly amps up the fun with '70s/'80s tunes (courtesy of Quill's deceased mother), but then its overall feel is unquestionably a throwback to productions from that time frame:.Glen Larson's "Battlestar Galactica" and "Buck Rogers in the 25th Century" immediately come to mind, plus "Heavy Metal--the Movie".
Whether "Guardians" spawns its own franchise or connects with its colorful, cinematic counterparts is yet to be seen, but as it stands, the film has great potential to make a lasting impression on the pop-cultural scene. It's now merely up to the filmmakers and of course, the ticket-buying public to ensure its longevity.
