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.
WRITER’S NOTE: This review was written back in 2010. I also want to dedicate it to my good friend Ed Mahoney who was brave enough to endure this cinematic monstrosity with me.
I couldn’t help it. I had to see this movie for myself. Ever since it opened, “The Last Airbender” has received some of the most atrocious reviews of any movie ever made. Audiences all over have been calling for M. Night Shayamalamadingdong’s blood for the last decade, and they just may get their wish with this monstrosity posing as a summer blockbuster.
But nothing could keep me or a friend of mine from witnessing the cinematic carnage of what was an eagerly awaited motion picture. The reviews were getting increasingly abysmal, and public perception made it look like a car crash you drive by on the freeway which you can’t help but look at. We knew we only had ourselves to blame since we paid $10 bucks each for our tickets, but we were willing to make the sacrifice.
Well, I came out of “The Last Airbender” laughing hysterically. In fact, I couldn’t stop laughing for an hour after I walked out of the theater, and it was for reasons Shyamalan didn’t intend. Everything you have heard about it is true. It is a complete and utter disaster and fails on just about every level a movie can. It proved to be so boring to where I almost passed out even when the soundtracks and explosions increased in volume. Furthermore, the plot is almost completely incoherent, and the dialogue will make you howl in disbelief. Shyamalan’s career has officially hit rock bottom with this atrocious adaptation, and no one is going to ever let him off easy for all the things he got wrong here.
I could tell from the start the movie was going to be terrible as the opening scroll fails to make any back story seem the least bit comprehensible. Then words “Book One” appeared, and it quickly reminded me of what Bruce Campbell and Sam Raimi were once told by Irvin Shapiro when they were selling him a certain horror movie:
“Fellas, if you call this movie ‘Book of the Dead’ they’re gonna think they have to read it! Call it ‘The Evil Dead!’”
Campbell and Raimi thought it was the worst title they ever heard, but what did they know?
So, what is “The Last Airbender” about exactly? Well, it’s about this kid named Aang who is brought up out of the water where he has either been hiding or accidentally entombed in, and he is revealed to be the new Avatar. In plain English, the Avatar is the only living being capable of controlling the four elements: water, fire, air and earth. But wait, he wasn’t actually trained on any of them, and yet people take him at his word. What happened? Doesn’t it make more sense for him to be resurrected and have him be fully trained? Or are we going to watch him perfect these so-called talents in future sequels? You know Paramount Pictures and Nickelodeon are just begging for a franchise here.
Oh, I see! Aang found out 100 years ago he was the new Avatar and ended up running away because he didn’t want the responsibility. Also, this meant he could never have a family. Now that sucks! You haven’t even gotten laid yet, and then you find out you have all these powers and can defeat anything and anybody in your way. But you know sooner or later, this kid is going to hit puberty and really scare the crap out of everyone. The question is, will he hit puberty in this movie or the sequel?
Those who know me best know how sick and tired I am of movies which have characters forever reluctant to accept the fact they are “the one.” We end up having to spend almost three quarters of the movie’s running time watching Aang bitch and moan about his unfair predicament, and all the time I found myself getting infinitely impatient as we know he will eventually accept the role the universe has given him. Look, you’re “the one,” so get on with it already! Take pride in the fact you can defeat so many enemies without ever having to use a gun!
The two innocent looking kids who accidentally resurrect Aang are Katara, one of the last waterbenders of her tribe, and Sokka. These characters were originally Asian in the television series this film is based on, but Shyamalan chose to cast Caucasian actors instead. To say fans were angered is one of the ultimate understatements of the year. If Shyamalan was such an ardent admirer of the show, he would have honored the source material without question. His casting decision is even more bewildering when you take into account he is an Indian American filmmaker, an ethnicity sorely underrepresented in movies. Furthermore, the actors he cast are personality free and spend way too much time emoting when they should have been acting.
The main antagonist of “The Last Airbender” is the fire nation which appears to be comprised of men who have had all the joy sucked out of their lifeless faces. All of them seem to be on the same emotional wavelength, and none ever appears to enjoy being pyromaniacs for life. Would it be too much to show the bad guys enjoying what they do even as we want to see them fail?
Most of the cast here are unknowns which I thought might give Shyamalan the power to discover some incredible new talent as he did with Haley Joel Osment in “The Sixth Sense,” But from the start you see that these actors are not going to even compare to that kid who saw dead people.
Aang is played by Noah Ringer, and his job seems to be playing the emotion more than the character. We never fully buy into what Aang is doing because Ringer is not able to give us a character worth rooting for. Nicola Peltz plays Katara, and Shyamalan said he refused to make the movie without her, but she is not given much to do other than pine for Aang who is way too young for her. She keeps coming on to Aang like some stalking fan, and I kept waiting for Aang to drop his polite guard and yell at her, “COULD YOU GIVE ME A MOMENT TO MYSELF???!! PLEASE???!!!!”
The biggest name “The Last Airbender” has to offer is Dev Patel whom we all remember from “Slumdog Millionaire.” Patel plays Prince Zuko who spends an obscene amount of time moaning and groaning over how he was once heir to the throne but has since been exiled by his father. The only way back into his dad’s good graces is to capture Aang. After a while, I couldn’t figure out if Zuko was a good or a bad guy. Maybe that ambiguity was supposed to be there in the screenplay, but it gave me a headache just thinking about what role this character was supposed to play in the story.
As for the screenplay, it features dialogue which sounds like people listlessly reading facts from some outdated history book which should have been removed from circulation seven years ago. Much of it cannot be digested without cringing in utter horror. This is the same problem I had with the “Star Wars” prequels as they too contained characters made to sound like they are in some stuffy period piece when they should sound relatively normal. Compared to those three movies, however, George Lucas’ dialogue sounds amazingly fresh compared to what comes from Shyamalan’s pen.
I’m not sure what else to say about “The Last Airbender” other than it is a monumental failure, and the blame for its epic awfulness lays solely at Shyamalan’s feet. One has to wonder how the director of “The Sixth Sense,” “Unbreakable” and “Signs” could have stumbled so badly. He has gone from being a wunderkind of cinema to its abandoned stepchild, and I think success has spoiled him too much to where the creative freedom he has at his disposal needs to be reined in. This is the same guy who pulled off one of the most brilliant twists ever in a movie with “The Sixth Sense,” and now he has given us a summer blockbuster every bit as inept and infuriating as last year’s “Transformers: Revenge of the Fallen.”
Do I regret watching “The Last Airbender?” No, not really. It was worth it just to watch the finished result so I could analyze everything wrong with it. But with so many movies out there worth watching, I would encourage you to avoid this one at all costs. Watching paint dry will prove to be a far more invigorating experience. Better yet, watch the Nickelodeon animated television series it is based on instead. You do not need to convince me it is better than this cinematic atrocity.
Maybe Shyamalan should just direct for the time being. No more screenwriting. Lord knows how long it’s going to be before he gets over this creative disaster. Considering the talent involved, there’s no excuse for it to be this atrocious. None whatsoever.
The 2014 version of “Left Behind” received quite the critical smackdown upon its release, and this made me all the more interested in seeing it. How many times do you get the opportunity to say you were one of the handful people who got to see such a god-awful motion picture on the big screen which notoriously flopped at the box office during its incredibly short time in theaters? There were a few people who proudly wore t-shirts signifying they saw “Gigli” while it was in theaters, and some wear it like a badge of honor.
“Left Behind” looks like one of those so bad it’s good movies, but even on that level it is a complete failure. This cinematic version of the best-selling novel by Tim LaHaye and Jerry B. Jenkins is every bit as hideous as its reputation suggests. The acting is amazingly bland and lifeless, the dialogue is unforgivingly bad, and the direction is beyond incompetent. Upon coming out of this movie, one has to wonder if its best sequences were all left behind on the cutting room floor on purpose or by accident.
The movie opens on Chloe Steele (Cassi Thomson) arriving home from college to surprise her father, airline pilot Rayford Steele (Nicolas Cage), for his birthday. Rayford, however, is already set to pilot a flight to London and cannot make it. Also, his marriage to his wife Irene (Lea Thompson) is on the fritz as she has since become a devout Christian, something which drives him and Chloe up the wall. He also has his eye on an infinitely beautiful flight attendant to the point where he doesn’t hesitate to leave his wedding ring in the glove compartment of his car.
Anyway, the family members go their separate ways to do their thing, but then people suddenly vanish into thin air without any explanation, and the world quickly descends into utter chaos. Their clothes and belongings are left behind, but their bodies have apparently disappeared and don’t look to reappear anytime soon. It turns out the end of the world is much nearer than the non-believers ever bothered to realize, and those who believe in Jesus are now under his, or her, protection. As for those back on Earth, they are forced to prepare for the rapture which is certain to kill them off at some point in the not too distant future.
“Left Behind” is actually a remake of the 2000 film that starred Kirk Cameron and which received largely negative reviews upon its release. In a time where every other movie is being remade, this looked like the rare remake which could have easily improved upon the original, but no such luck. For all we know, this remake is even worse than its predecessor, and sitting through it is like pouring salt on an already gaping wound.
Where do we start with a cinematic monstrosity like this? Well, let’s take into account how the story lacks much in the way of drama. Those characters who didn’t go up to heaven are basically condemned to a hellish existence, so where’s the drama? As for what’s going on up in the sky, the characters stuck in the airplane are forced to act stupidly and utter dialogue so silly and inane to where it makes the screenplays of the “Star Wars” prequels sound like they were written by Aaron Sorkin.
The saddest thing about “Left Behind” is watching Nicolas Cage give one of the worst performances of his long career. Granted, Cage has done more bad movies than good ones these past few years, but even he can sometimes elevate a terrible motion picture into something which is, at the very least, entertaining. But here he looks like he is about to fall into a coma like Ben Carson threatens to during his campaign for President as he appears bereft of passion and meaning. What made Cage decide to do this movie anyway? He can underplay a role to great effect in movies like “Joe,” but here he only succeeds in making a terrible movie all the more infinitely pathetic.
The director of this misbegotten disaster is Vic Armstrong who is said to be the world’s most prolific stunt double in movies. He doubled for Harrison Ford in the first three “Indiana Jones” movies, Timothy Dalton in “Flash Gordon” and George Lazenby in “On Her Majesty’s Secret Service.” Whatever lessons he gleaned from the directors he worked with on those projects did not translate to “Left Behind.” He should be forgiven for the lousy special effects he had a budget of only $16 million which, for a movie like this, is not nearly enough to, but my sympathy doesn’t extend much further than that. His direction is so amateurish to where I wondered how he got the directing job at all.
There is only so much time one can waste on a movie like “Left Behind” because there are hundreds upon hundreds of other movies out there so much better than this one. It ends on a note of seeming uncertainty as the apocalypse has only begun, but Cage stares at it so blankly as if to say he won’t be around for the sequel, assuming there will ever be one. It’s depressing to see a number of careers hit rock bottom here, but this is what happens here as movies don’t get much worse than this one. Sitting through a Dinesh D’Souza “documentary” is hard enough, but this one is a real endurance test.
For what it’s worth, it is nice to see Lea Thompson here as she always proves to be a very appealing presence in each movie or television show she appears in. What a shame it is that she disappears from this movie far too soon.