You all know how much I love movie trailers, so it is only fair I begin writing about those which give you every reason not to watch the movie they are advertising. While many movie trailers get us hyped up to where expectations are elevated to an unrealistic level, there are others which make clear, be it intentionally or unintentionally, why we should not watch certain motion pictures.
My first exhibit in this category is for Guy Ritchie’s 2002 remake of “Swept Away.” Based on the 1974 Italian film of the same name and directed by Lina Wertmuller, it starred Ritchie’s then wife Madonna as Amber Leighton, an infinitely spoiled human being who looks determined to make life miserable for anyone she deems underneath her, and this includes her husband Tony (played by Bruce Greenwood). But the biggest recipient of her needless abuse is Giuseppe Esposito (Adriano Giannini), the first mate on the ship Amber is sailing to Italy on. When a storm ends up stranding Amber and Giuseppe on a deserted island (is there any other kind?), the tables turn to where they both fall in love.
This version of “Swept Away” is one of those movies you have definitely heard about but never bothered to watch when it arrived at your local multiplex. I still vividly remember watching its trailer for the first time back when I was a cast member at Disneyland, and I watched it with a fellow employee who had the same reaction to it I had.
Believe it or not, I am happy to defend Madonna on a number of movies she starred in. When it comes to “Desperately Seeking Susan,” “Dick Tracy,” “A League of Their Own” and “Evita,” she can be a mesmerizing talent to watch. But then there’s “Shanghai Surprise,” “Body of Evidence” and “The Next Best Thing” which leave us wondering what she is trying to prove. Seeing her in this “Swept Away” trailer is especially painful as it quickly becomes clear how one-note her performance will end up being. Watching her here is not the least bit appealing, and it makes one want to slap her for failing to dig deeper into her character or taking the chance to make Amber more complex than she was in the screenplay.
Then there’s Adriano Giannini, son of Giancarlo Giannini who played Giuseppe in the 1974 original film, and watching him put Amber in her place feels especially uncomfortable. While the sexual politics may have been an important subject back when Wertmuller’s film was released, they feel completely out of place here, and this gave audiences even more of a reason to run away from any theater daring to show this horrific remake.
Ritchie’s “Swept Away” had a budget of around $10 million, and it ended up grossing a worldwide total of around $1,000,000 at the box office. My Disneyland colleague and I looked at each other after the trailer ended, and we shook our heads which was more than enough to tell everyone else in the nearby vicinity that we were not about to subject ourselves to this cinematic experience.
Check out the horrific movie trailer for 2002’s “Swept Away” down below.
While at New Beverly Cinema on November 19, 2011 to talk about her husband John Carpenter’s movie “Vampires,” producer Sandy King also took the time to discuss its sequel “Vampires: Los Muertos.” Not many know about this one, but this is largely because it went straight to video and features none of the cast from the original. King went into detail about its making, and she summed up Screen Gems handling of it by saying, “They fucked it up!”
The original storyline for “Vampires: Los Muertos” had all the original slayers dead which necessitated that a new team be put together. Tim Guinee was set to return as Father Adam as his character was intended to be the through line for both films. Sheryl Lee was also expected to return as Katrina who had since become queen of the vampires. King never mentioned if Daniel Baldwin would be back, but I’m assuming this was not a real possibility.
The problem with this sequel, King said, was the studio thought they got the movie, but really did not. This was quickly proved when they introduced some changes during the film’s production. Guinee ended up not being brought back, and we see Father Adam’s grave at the movie’s start. Instead, they ended up casting a Mexican soap opera star named Cristián de la Fuente as a completely different character named Father Rodrigo. King was also perplexed as to why they cast rocker Jon Bon Jovi as the lead vampire hunter, Derek Bliss. Granted, Jovi is not a bad actor, but King best described him as looking like a “New Jersey surfer.”
At one point, the studio called both King and Carpenter and asked them, “Can you tell us how to fix this?” To this, King replied quite bluntly, “No.”
In the end, King made clear how the studio’s interference is what messed everything up. She said if you don’t understand the myths and legends involved in the original “Vampires” movie, then “you’re going to fuck it up.” Also, if your main villain of a female vampire is not the hottest lady, then the story won’t make a lick of sense. All of this, in her opinion, showed a lack of respect not just for the audience, but also for the genre as well.
In all fairness, “Vampires: Los Muertos” is an okay movie if you expect nothing more than a decently entertaining B-movie. Even King said director Tommy Lee Wallace, who had directed another sequel to a John Carpenter movie with “Halloween III: Season of The Witch,” did a lot of neat things which were fun to watch. I myself loved the kick ass rock and roll score by Brian Tyler who has since gone on to compose the music for “Rambo” and several of the “Fast & Furious” movies. But when all is said and done, this sequel was a missed opportunity, and it serves as yet another example of why studio executives would do best not to interfere too much, if at all, in the moviemaking process.
“Attack the Block” is a highly entertaining combination of action and sci-fi genres which deals with humans defending themselves against a swarm of unfriendly extra-terrestrials. It follows a street gang of young kids who, in the process of robbing a female nurse, get greeted by an alien who lands with a loud thud on someone’s car (here’s hoping they have auto insurance). It marks the beginning of an attack by an alien race which immediately tears apart anything in its path, and it’s up this gang of delinquents to save the day.
The majority of “Attack the Block” takes place in a council estate, a location which houses the financially challenged of England’s residents, and it is generally overrun by a nasty criminal element. This setting has been used to great effect in “Fish Tank” and “Harry Brown,” movies which effectively showed how isolating it can be to live there. The characters presented feel very true to life, and it makes what could be seen by many as another B-movie far more effective as a result.
Leading this street gang is Moses (John Boyega), a 15-year-old who is older than his age would suggest. Moses and his mates spend their time robbing those walking through the terrace they live in. But when the aliens enter into their territory, they find antagonists that are completely unwilling to give up their valuables (assuming they have any), and the threat they pose to this gang make their struggles in daily life a cakewalk in comparison.
“Attack the Block” was directed by Joe Cornish, an English comedian, television and radio presenter, director, writer and actor. This marks his directorial debut as he has previously helmed several behind the scenes documentaries like “The Fuzzball Rally” featured on the “Hot Fuzz” DVD and Blu-ray. Cornish’s work here is very assured, and he does an excellent job of combining elements of horror and comedy to great effect, something never easy to pull off. He also generates highly suspenseful moments which really get the audience on edge, and they make for a surprisingly unpredictable motion picture.
Of all the performances, the most impressive comes from John Boyega as Moses. This is his film debut, but he looks and acts like he’s been acting for ages as his eyes reveal a battle over how far he will go and of all the bad things he has seen in life. As the fight against the aliens goes on, it offers his character a chance for redemption and to be a hero, and Boyega makes Moses earn those honors long before the film’s conclusion.
Also impressive is Jodie Whittaker as Sam, a hospital nurse faced with an impossible situation where she has to work with the same gang of kids who mugged her in order to survive. Whittaker convincingly takes her character from being a frightened woman to one who holds her own alongside these kids, and she is not your typical horror victim screaming her way throughout the entire movie.
It’s also great to see Nick Frost here as the drug dealer, Ron. Frost brings an ever so dry humor to the proceedings, and all the other actors work off of him to great effect. In each movie he does, Frost is brilliant at sneaking the occasional joke in when you least expect it, and you can always count on him to leaving on the floor laughing.
“Attack the Block” was made for only $13 million, and the visual effects the filmmakers came up with are very impressive considering the budget. Having less money forces directors to be more creative, and Cornish succeeded in making this film look like it cost a lot more. The aliens themselves are minimal in their design, but they feel far more threatening than the ones you might remember from “Cowboys & Aliens.” Their pitch-black fur is highlighted by neon-like eyes and teeth, and their horrendously loud shriek is certain to make audiences jump out of their seats more often than not.
The action is also highlighted by a super cool electronic score by Basement Jaxx which really puts you in the right frame of mind. I definitely recommend buying the soundtrack once you have watched this movie. I myself didn’t even hesitate in purchasing a copy. That’s how much I like this kind of film music.
The summer 2011 movie season was mostly disappointing due to a lack of creativity and inspiration as many of the blockbusters were cynically made by studios with the intention of making money while giving audiences what they thought they wanted. Watching “Attack the Block” though is a great reminder of how much fun it can be to go to the movies, and it was one of the best action movies to come out that year. This is a must see.
“Carrie” was the first Stephen King novel ever published, and it’s the one people keep coming back to. Filmmakers had the hardest time, until recently that is, getting “The Dark Tower” made into a movie, and bringing “It” to the silver screen seemed to be an impossible challenge. This serves as a reminder of how development hell is still alive and well in Hollywood. “Carrie,” however, has been adapted into the horror classic Brian De Palma directed in 1976, turned into a musical that became famous for how long it didn’t run on Broadway, generated a sequel called “The Rage: Carrie 2” which disappeared from theaters not long after its release, and was later remade into a TV movie where the only saving graces were Angela Bettis as Carrie White and Patricia Clarkson as Margaret White. Now we have yet another remake of “Carrie” which would have been totally unnecessary were it not for Kimberly Peirce, the same filmmaker who gave us the brilliant and emotionally devastating “Boys Don’t Cry” which dealt with a human being cruelly cast out of regular society. As a result, this remake suddenly felt a lot more promising than I expected it to be.
Why do people keep coming back to this particular King novel? Well, with its themes of bullying, isolation and the pain of adolescence, “Carrie” proves to be as timely now as it was when the novel came out in the 1970’s. The story remains the same, but the tools of humiliation and anger have been slightly updated. Carrie White (Chloë Grace Moretz) still has her first period, but this time it is captured on an iPhone and posted on the internet with gleeful malice and a complete lack of sympathy. Granted, Carrie probably doesn’t have a Facebook page as her mother Margaret (Julianne Moore) has spent a lot of time homeschooling her daughter before being forced to send her to a public high school, and she remains as strictly religious as ever; locking her poor daughter into a closet to pray to a bleeding Jesus on a cross.
The main fault with this version of “Carrie” is it follows De Palma’s film a little too closely. For those who have seen the 1976 movie, not much has changed, so this may not seem as scary as before. At the same time, I found myself admiring what Peirce was able to convey with the characters, particularly the females. While certain characters end up coming off as a bit too generic, we get to see the different dimensions which make them more human than the average character we constantly get exposed to in horror movies.
Moretz successfully makes the character of Carrie White her own, and you never feel the shadow of Sissy Spacek’s performance hovering over her. She is able to bring more of Carrie’s rage we saw in King’s book, and we see her as a powder keg just waiting to explode. We all know her as Hit Girl from the “Kick Ass” movies, and it’s only a matter of time before she starts kicking some serious ass at the prom. Even though Moretz doesn’t quite match the description King made of Carrie in the book (she’s one of those actresses you can’t make look ugly), it’s clear from her performance how deeply she understands this horribly shy and alienated teenager inside and out. While this Carrie isn’t ugly by a long shot, she is made to feel ugly by everyone around her, and you can see this weighing heavily on her psyche.
Julianne Moore continues to put in one great performance after another, and her work here as Margaret White is very effective. Whereas Piper Laurie played Margaret as a deranged religious zealot whose devotion to Jesus was unwavering, Moore instead makes the character surprisingly empathetic. Margaret is still deranged, but Moore shows her to be a loving mother who does care ever so deeply about her daughter even if her love comes with a lot of mental anguish. Moore even shows Margaret engaging in self-mutilation which is painful to watch and adds another layer to this character which wasn’t in the book.
Actually, for me one of the most fascinating characters in “Carrie” is Chris Hargensen who is played here by Portia Doubleday. Chris hates Carrie with a passion and looks forward to humiliating her with a vengeance on prom night, but I found myself really getting caught up in how the character goes from being just another spoiled girl to someone who slowly gravitates towards the dark side. Chis initially shows some hesitation when her never do well boyfriend Billy Nolan (Alex Russell) kills the pig whose blood they will use to dump on Carrie, but once she starts cutting the dead pig’s throat, I found the look on her face to be one of the movie’s most horrifying moments. As she gets deeper into criminal activity, we see Chris starting to get both aroused and scared by it, and she doesn’t realize until it’s too late that there’s no turning back.
I was also glad to see Judy Greer playing PE teacher Miss Desjardin, and the role allows her to balance out her sweet side with a rougher exterior as she gets constantly exasperated by her students who show little signs of being the least bit sympathetic towards Carrie. I also have to give Ansel Elgort some credit as he makes Tommy Ross’ transition from not wanting to take Carrie to the prom to making sure the two of them have the best time possible very convincing. Then there’s the lovely Gabriella Wilde who plays Sue Snell, the popular girl who encourages Tommy to take Carrie to the prom. She’s very good in the role and shows us the inner turmoil going on as she sees her goodwill get dumped on, literally.
Look, there’s no way that Peirce could have topped De Palma’s “Carrie.” Having read the book, it would have been interesting to see it done as kind of a documentary as the book is told from various points of view where the townspeople share their memories of what happened on the night of the prom. Still, it’s Peirce’s approach to the characters which made her version of “Carrie” worth watching for me.
Was a remake of “Carrie” really necessary? Not really, but it happened anyway and not for the first time. Having Peirce behind the camera for this one gives this remake a reason for being, and she is blessed with a cast who did not let their memories of De Palma’s horror classic get in their way. If anyone else had directed this version, I’m not sure I would have bothered watching it. Peirce remains a filmmaker who understands how cruelly we can alienate someone for being different, but she never gets caught up in making this into a message movie. She is determined to have us rooting for Carrie even as she lays waste to a town and its inhabitants who have been relentlessly cruel to her. That’s why we go to the movies anyway, to engage in our fantasies.
Now let’s think about adapting some Stephen King novels which haven’t already been made into movies or miniseries. There are so many to choose from.
* * * out of * * * *
Click on the video below to check out the interviews I did with Chloe Grace Moretz, Julianne Moore, Judy Greer and Kimberly Pierce on “Carrie” for the website We Got This Covered.