Showing posts with label auf Deutsch bitte. Show all posts
Showing posts with label auf Deutsch bitte. Show all posts

Wednesday, December 11, 2013

Cap'n Howdy's (Back)Log: Escape Plan


  Escape Plan is a surprisingly good theatrically released DTV movie. Wait, let me take that back. That's a mean way to start the review, and since Escape Plan is actually a (lot) better than either Bullet to the Head or The Last Stand, I shouldn't be diminishing your expectations already by suggesting that it's a non-direct to video DTV entry. Not that you'd be mistaken for thinking that when I get to the cast, a who's who of once-upon-a-time "they're in this?" but now probably more like "oh, that's what they're up to"-ers. Again, I feel I'm being mean already, and I really liked Escape Plan. Maybe DTV is just better than what you'd expect it to be these days (except the ones starring Bruce Willis). Or maybe the average action movie just isn't (A Good Day to Die Hard, I'm looking at you...)

 So if you're ignoring The Expendables, and for the moment let's do that, Escape Plan is the first film co-headlined by Sylvester Stallone and Arnold Schwarzenegger. This is definitely still a Stallone movie, but Arnold has a crucial supporting part and drives most of the narrative. More importantly, unlike his one-liner joke machine cameos in The Expendables movies, Schwarzenegger is actually playing a character that doesn't rely on the fact we know he's Ah-nuld. It's pretty cool to see him no be quite as larger than life but just be a grizzled criminal who needs Sly's help. Stallone is basically playing any of his non-Rocky / Rambo-types, but that's a good thing. The "man of few words" works for what amounts to a pretty linear plot.

 Ray Breslin (Stallone) is a former prosecutor turned profession jailbreak-er. He works for a consulting firm that helps the Department of Prison Services determine how safe their institutions are from escapes, and as he demonstrates in the first ten minutes, Ray is very good at observing routines, memorizing layouts, and discovering weaknesses in prison security. He's so good, in fact, that Ray literally wrote the book on prison design (we see it several times in the movie). CIA representative Jessica Miller (Caitriona Balfe) comes to Breslin's boss Lester Clark (Vincent D'Onofrio) with a proposition: a secret, non-government sanction super prison is being tested for the worst of the worst, and in order to make sure that it's really as state-of-the-art as they hope it is, they want Ray to try to get out. Despite the clandestine details surrounding his arrival to "The Tomb," Breslin reluctantly agrees, but quickly discovers that someone with an axe to grind intends for him to stay there permanently.

 Now this is already a pretty good "wrong man" setup before we're introduced to Emil Rottmayer (Schwarzenegger), who's in "The Tomb" for refusing to cooperate with authorities in locating his boss, an international thief / hacker. Rottmayer turns out to be the only friend Breslin has, even when Ray isn't interested in forging alliances. This prison is, well, different: the cells are plexiglass and elevated, the guards are all masked to hide their identities and use random schedules, and warden Hobbes (Jim Caveziel) built the facility using Breslin's book as a blueprint. Hobbes doesn't know Ray's actual identity at first, but he's bound and determined to keep every "asset" under his thumb, and his number one "guard," Drake (Vinnie Jones) is the muscle that backs that up.

 While Escape Plan doesn't necessarily rewrite the "prison escape movie" playbook (come in, turn enemies into friends, work out the prison, etc.), I will give it credit for little touches that you don't see often enough. For example, there's probably a really good reason most of the people in this high tech prison (one that has a barcode scanner for uniforms) were captured in the first place, but you never think twice when Ray includes some of them in his plan that they too should escape. Partly this is because of how cruel Hobbes is, but also the nature of this "black site" prison - which, speaking of nice touches, is in a novel location - we're already iffy that it should exist when the CIA pitches it to Ray. It doesn't get better when Breslin wakes up from being drugged to see Drake stabbing a prisoner and throwing him out of a helicopter. (To be fair, Hobbes does dock him the cost of the "asset" for doing that).

 This also might be the first American action movie since True Lies and definitely since the year 2001 that I can think of where a character is a practicing Muslim (Javed, played by the President of Elysium, Faran Tahir) and not portrayed as a cartoonish villain but as a man of faith who speaks openly about it. In fact, his prayer becomes a central plot point late in the film, as do his doubts about whether this would offend Allah. Hobbes gets to be even more of a jerk when he replies to Javed's "God is great" by saying "Yeah, whatever" and (SPOILER) shooting him.

 I also appreciated that while it plays out pretty much like you'd expect it to, there are initially some questions about allegiances and who Breslin can and can't trust, mostly due to a twist near the end of the film I must admit I'd forgotten about. This isn't tied to the twist, but to get back to the quasi-DTV casting nature of this, the prison doctor Kyrie is performed by In the Mouth of Madness's Sam Neill, and what I was expecting (or, I should say, dreading) was the long speech about how he ended up in these dubious circumstances. You know the speech, we've heard it a million times. It happens right before he decides to help the hero out, but in Escape Plan, it never happens. Instead of being told, we see it in the look on Neill's face when he tells Ray anesthetic is forbidden by Hobbes, or in a simple shot of Dr. Kyrie reading the Hippocratic oath with a bottle of liquor next to him. It explains the shaky hands when he tried to stitch up Ray. In a movie that could just go the expected route, I'm happy when it doesn't.

 So we've got Sylvester Stallone, Arnold Schwarzenegger, Jim Caveziel, Sam Neill, Vincent D'Onofrio, and Vinnie Jones so far, but this alone does not a non-DTV DTV roster make. We need at least two more cast members with name recognition, and luckily, I haven't even mentioned Ray's team. For starters, there's Hush, the ex-con who would go back into prison to help Ray get out if he needed help, and is the computer expert. How about 50 Cent? Done! And what about Abigail, the conscience of the team and hard-to-tell if she's hot for Ray or not (seriously, it's not clear). Let's go with Academy Award nominee for Gone Baby Gone's Amy Ryan. Ladies and gentlemen, let's slap those names on some photoshopped artwork and get this sucker onto Target shelves!

 Or they could not do that and release it in theatres with just Stallone and Schwarzenegger and people don't go see it, just like they didn't see The Last Stand or Bullet to the Head. It's a shame, because Escape Plan is a) really good and b) surprises you with the cast because unless you hit up IMDB first, you probably didn't know anybody else was in this movie. Not literally, of course, but I suspect you wouldn't know there were that many recognizable names / faces in Escape Plan. You probably just thought it was another stupid action movie that nobody wanted to see, thusly making Escape Plan's failure a self-fulfilling prophecy. And that's too bad, because while I enjoyed Furious 6 quite a bit, it doesn't need to be the only high water mark of action movies while we put up with garbage like G.I. Joe: Retaliation. From what I've seen of Olympus Has Fallen, it is arguably more preposterous but not as well constructed as Escape Plan.

 Speaking of which, I was very surprised to find that Mikael Håfström, he who made 1408, directed Escape Plan. Truth be told, this was an improvement in just about every way over that movie, with the exception of no John Cusack, who was probably busy making his own quasi-DTV joint. But anyway, Escape Plan. Rent it when it comes out. Watch it with your buddies. Sly's good. Arnold's good. The rest of the cast is good too. Some nice twists. An interesting setting. Arnold gives an entire monologue in German which is the first time I can think of that happening in a very long time (if at all). Gratuitous sequence in New Orleans because it's cheap to film action movies in Louisiana (seriously, even the Jason Statham / James Franco movie, Homefront*, was filmed there). It's a better movie than a lot of people will give it credit for, and definitely a better action movie than anything other than Furious 6 that I mentioned in this review. If you have to, pretend it's DTV and it'll be even better, but that's not really being fair to the movie is all I'm saying.


 * Written by Sylvester Stallone.

Wednesday, February 3, 2010

O Cap'n, where art thou?

Tis true, dear readers, that your Cap'n has been mentally absent from the last round of posts. I could whisper sweet nothings in your ears and pretend that it was all some misunderstanding, but the truth is I've had Scheiße zu machen.


I had shit to do. But, as I remain dearly devoted Dexter to my readers, I shall endeavor to be less "absent father figure" today and make with the cinematic chatter, which I assume is why you folks keep coming back.

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In the past three days, I watched Raising Arizona twice (the second time quite by accident; my industrious nature as a student foolishly led me down the path of assuming everyone else would independently view the film, and you know what they say about assumptions...) To wit, the second time was a bit better than the first, as I was predominantly occupied in a strange and unseemly head space on Monday, of which I will say no more.

Dr. Adams made his best effort to pitch Raising Arizona as the Some Like It Hot to Billy Wilder's Sunset Boulevard, but there's very little doubt in my mind the brothers Coen were making a live action cartoon. The second go-around in seventy two hours bore out this theory, as the film is largely bloodless, despite innumerable rounds of ammunition spent, broken noses, and exploding Randal "Tex" Cobb's.

I'm still formulating a good point of reference for the film, as it loosely borrows from the Looney Tunes and Tex Avery catalog, and much of the set pieces clearly inform what they would make later (take, for example, the gas station scene in Raising Arizona and juxtapose it with No Country for Old Men, or the obsession George Clooney has for Pomade in O Brother Where Art Thou?). At any rate, the Cap'n is quite certain I'll have a working thesis for Raising Arizona by Saturday or something to that effect*.

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I hope folks don't mind that "One Bourbon, One Scotch, and One Beer" is more likely than not going to be on February 13th. The whole Valentine's Day Weekend thing doesn't really mean much here at Blogorium central, and if I need to pitch it thusly, look at it as a cheap excuse to drink your romantic woes away. Just don't expect yr master of ceremonies to join in; I have to stay sober enough to keep you from talking me into Teenage Mother again.

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On that note, I'm 60% certain I can get this German homework done and still watch some Doctor Who. It's about time to say goodbye to David Tennant, even if I don't share the overwhelming disdain for new Doctor Matt Smith. Please refrain from passing judgment on the new Doctor, folks. He could be just what the Cap'n ordered...


* I mean, I'd better. Discussion is on Monday and there's some business about papers to be sussed out.

Monday, December 7, 2009

Back in business...?

The Cap'n is back. Again. From yet another internet blackout. For those keeping count, this is the third time in a month that regular Blogorium service was interrupted by sub-par internet access. Somehow I think that the cable company is trying to send a message. Or, two possible messages:

1. Stop paying us for high speed internet.

or

2. Pay us more so this doesn't keep happening.

(yes, I did just suggest that nameless cable company with a Looney Tunes related bird for a mascot is running a protection racket. They once again refused to replace my router, instead blaming it on a "main line" problem. I'm just saying)

So it's back on. And Mystery Science Theater 3000 volume XVI is here (I picked it up after cable man left). Things are temporarily good. I'd like to be more upbeat about all this, but you should expect more from the Cap'n, and you aren't getting it. But I'm working on that.

Scroll down and you'll find Trailer Sunday where it should be, along with a review of Outlander that I wrote after spending two hours on the phone Saturday night. The movie was okay, but it has its own review, so please read it.

Tomorrow you'll have a review of Observe and Report. The day after that, The Limits of Control. Then I'll break up the reviews with something, and come back with Thirst on Friday. I've got a schedule of school related business, but if I could spend all day wrapping up a German class and still watch Observe and Report, I can fit in a movie a day until Christmas.

Speaking of watching movies, I've got an extra copy of Blood Car here. Review Terminator: Salvation, So We Won't Have To, and it's yours. Since it's just that hard to find, I should hope that brings one of you to the table with an appetite for mediocrity.

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This is sort of embarassing to post, but I'm hoping most of you can't read German. If so, then you're Major Tom or Adam. Please don't laugh too hard at the awkward sentence structure, or the simplicity of the descriptions.

For everybody else, this is what I spent all day doing for class. It's a Wiki project on German Cinema, specifically Literary Adaptations after 1945. I'm not going to pretend it's terribly insightful, unless of course you know nothing about German cinema or Tom Ripley movies not starring Matt Damon or John Malkovich. But enjoy.


Deutsche Filme: Literarische Anpassungen


Inhalt:

Bild eins. Filmplakat für Effi Briest (1974)

Bild zwei. Filmplakat für Der Amerikanische Freund (1977)

Bild drei. DVD Abdeckung für Die Blechtrommel (1979)

Bild vier. Klaus Kinski und Isabelle Adjani von Nosferatu: Phantom der Nacht (1979)

Bild fünf. Filmplakat für Mephisto (1981)


Vorwort: Mein E-Wiki zeigt fünf bilder über die Filme von Deutschland nach 1945. Diese Filme sind auf Literarischen quellen gegründet. Ich finde diese Filme interessant, weil sie deutsche und Amerikanische Literatur auf deutschem Kino beziehen. Nosferatu: Phantom der Nacht ist auch ein anpassungen von einem früheren deutschen Film. Diese Anpassungen jede Annäherung die Romane anders als und ich glauben, dass sie zu deutscher Nachkriegsgesellschaft Stellung nehmen.


Filmplakat fur Effi Briest (1974)

Bild eins ziegt ein Filmplakat für Rainer Werner Fassbinders Effi Briest (1974). Fassbinder passte sich an der Roman Effi Briest durch Theodor Fontane, und wiederholte den Text so nah, wie möglich. Der Filmaufbau ist formal und Dialog ist sehr gestelzt, aber dieses war die Direktorenabsicht. Ich finde Fassbinders annäherung oft herausforderun, aber Effi Briest ist ein zuverlässig anpassungen.


Filmplakat fur Der Amerikanische Freund (1977)

Bild zwei ziegt ein Filmplakat für Wim Wenders Der Amerikanische Freund (1977), mit Dennis Hopper und Bruno Ganz.Der Amerkanische Freund ist nicht auf einen Deutsch roman, aber von Patricia Highsmiths Ripley's Game. Der Film is auch intressant weil es auf englisches und deutsch ist. Hopper spielt Tom Ripley, ein Buchstabe von Highsmiths serie der Romane, die einen sterbenden mensch (Ganz) in Tötung betrügt. Ich habe The Talented Mr. Ripley gesehen, und Der Amerikanische Freund war eine angenehme Überraschung.


Die Blachtrommel (1979)

Bild drei gibt die DVD Abdeckung (cover) fur Die Blechtrommel (The Tin Drum) (1979), ein Film von Volker Schlörndorff. Günter Grass schreibt Der Blechtrommel im 1959 und wurde einen Nobelpreis zugesprochen. Schlorndorff verwies Die Blechtrommel zwanzig jahre später und gewann einen Preis der Akademie (Academy Award) für besten ausländischen Film 1980 (Best Foreign Film 1980). Die Blechtrommel war erfolgreich, aber sexueller Inhalt hat Kontroverse verursacht. Ich finde Die Blechtrommel auf DVD bei The Criterion Collection, und sieht es bald an.


Klaus Kinski und Isabelle Adjani

Bild vier ziegt Klaus Kinski und Isabelle Adjani in Werner Herzogs Nosferatu: Phantom der Nacht (1979). Der Film ist ein neuauflage (remake) von F.W. Murnaus Nosferatu, eines Symphonie des Grauens, und auch ein Anpassung von Bram Stokers Dracula. Ich finde diesen Film intressant weil Herzog aufzügt von beide Versionen und verursacht neues etwas. Nosferatu: Phantom der Nacht wurde in zwei Versionen gefilmt: Englisch und Deutscher. Die englische Version wird Nosferatu: The Vampyre benannt.


Filmplakat fur Mephisto (1981)

Bild fünf ziegt ein Filmplakat für István Szabós Mephisto (1981). Szabó ist ein ungarischer Direktor, und Mephisto ist einen Anpassung des Romans durch Klaus Mann. Mephisto war ein Koproduktion von Ungarn, von Österreich und von BDR. Der Film und der Roman sind ein wiederholen des Doktor Faustus, aber in Nazi Deutschland. Ich fand den Film interessant, weil er klassische Literatur anpaßt, um zu moderner deutscher Geschichte Stellung zu nehmen. Die verfassung fur Mephisto (Klaus Maria Brandauer) ist also ein Anpassung von F.W. Murnaus Faust (1926).