Posts Tagged ‘Rutger Hauer’

RICHARD’S CTV NEWSCHANNEL WEEKEND MOVIE REVIEWS & MORE FOR JULY 21.

Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the big weekend movies including Christopher Nolan’s true-life war film “Dunkirk,” Luc Besson’s eye scorching “Valerian and the City of a Thousand Planets” and David Lowery’s eerie love story, “A Ghost Story.”

Watch the whole thing HERE!

Metro: Crtics split on Luc Besson and Valerian & the City of a Thousand Planets

By Richard Crouse – Metro In Focus

To some director/writer/producer Luc Besson is the French equivalent of Steven Spielberg, a big-budget filmmaker with populist appeal. To others he’s a retina-frying, turbo charged fantasist whose films are empty calories for the eyes.

Movies like the high gloss crime thriller La Femme Nikita, the assassin mentor flick Léon: The Professional and outré sci fi opera The Fifth Element have come to define his outrageous style. Kinetic blasts of energy, his films make eyeballs dance even if they don’t always engage the brain.

His work divides critics. The Fifth Element, and its huge, Earth-destroying ball of molten lava, was simultaneously called “an exhilarating, visual feast” and “boring and idiotic.” One critic called Léon: The Professional, “a wonderful character study,” while another said, “The Professional is strictly amateur-hour.” Different strokes for different folks.

His latest, Valerian and the City of a Thousand Planets, is similarly polarizing. According to whom you listen to it’s either as “if someone projected an entire decade’s worth of sci-fi space epics on the same screen, at the same time” or “one of the best films of the year.” Based on a French comic book series and starring Dane DeHaan and Carla Delevingne, the story of special operatives Valerian and Laureline and their quest to save the universe is another wild, idiosyncratic ride from the director.

His movies may divide critics but there is no question his more-is-more style of filmmaking appeals to audiences. His Taken trilogy (he wrote and produced the Liam Neeson thrillers) has grossed near $1 billion worldwide and his Le Grand Bleu, a tale of love and friendship set against a backdrop of professional free diving, was so popular in France the International Herald Tribune called it a “film générationnel,” a defining moment in the culture.

More recently Lucy, a philosophical action movie starring Scarlett Johansson as a woman whose mind expands to ten times the usual capacity, grossed ten times its $40 million budget. It’s pure Besson. Imagine a mix of Limitless, La Femme Nikita, The Matrix and a Philosophy 101 textbook with half the pages torn out and you’ll get an idea of the film’s loopy feel.

Besson is a maestro at high-octane action but falls down somewhat in others genres. A rare comedy, The Family, is a basic fish out of water story with a gangland twist, starring Robert De Niro and Michelle Pfeiffer as a crime family in witness protection trying to fit in. Trouble is, they don’t blend. Besson is heavy handed with the paint-by-numbers story, the humour and the violence. It’s a movie without a genre, neither funny enough to be a comedy or interesting enough to satisfy as thriller.

Despite that movie hitting the box office with a thud, Besson seems to have the Midas Touch with audiences although he claims not to care much about money. He says people request sequels for two of his most popular turns behind the camera, The Fifth Element and Léon: The Professional. “If I was motivated by money I would have done it a long time ago,” he says. “But I don’t feel it.”

Instead, he’d like you to go see Valerian and the City of a Thousand Planets at least twice. “I’m sorry, you can’t watch the film once. It’s impossible,” he said at a recent press day. ”You have to go twice.”

VALERIAN AND THE CITY OF A THOUSAND PLANETS: 1 ½ STARS. “eyes will beg for mercy.”

Movies like the high gloss crime thriller “La Femme Nikita,” the assassin mentor flick “Léon: The Professional” and outré sci fi opera “The Fifth Element” have come to define director Luc Besson’s outrageous style. Kinetic blasts of energy, his films are turbo charged fantasies that make eyeballs dance even if they don’t always engage the brain. His latest, “Valerian and the City of a Thousand Planets,” not only has one of the longest titles of the year but is also one of the most over-the-top, retina-frying movies of the year. Your eyes will beg for mercy.

Based on the French comic book “Valérian and Laureline,” a series that ignited the young Besson’s imagination, it stars Dane DeHaan and Cara Delevingne as 28th century dimension-jumping space police and lovers Major Valerian and Sergeant Laureline. When they aren’t cooing over one another the duo preserve law and order in the universe’s human territories.

Their biggest mission ever comes when the Minister of Defense (jazz star Herbie Hancock) dispatches them to save Alpha, an ever-growing space station nicknamed, “the City of a Thousand Planets.” Led by Commander Arün Filitt (Clive Owen) it is one of the most diverse places in the universe, a peaceful melting pot, home to 30 million inhabitants and thousands of species, who live in harmony, content to share culture and knowledge. Trouble is, sinister forces are afoot.

There’s more, like the Besson-ian touch of a wild red light district called Paradise Alley, an exploding planet, a shape-shifting burlesque performer played by Rihanna and a creature that that poops pearls, but the draw here are the eyeball-spinning visuals, not the story.

“Valerian and the City of a Thousand Planets” is undeniably great looking, but Besson is a stylist above all, but it feels as though it is composed of influences from dozens of other better movies. It’s less than the sum of its parts. “Avatar” + “Tron” + “Dune” + “Star Wars” = “Valerian and the City of a Thousand Planets.”

There are characters who look so much like the Na’vi you’ll think James Cameron delivered his long promised “Avatar” sequel years early, plus ectoplasm shooting guns, Lucas look-a-like creatures and Jessica Rabbit even makes an appearance. Laureline also drops one of the most famous space opera lines ever, “I’ve got a bad feeling about this,” without a trace of irony. Cowabunga! The movie brings with it a disconcerting feeling of déjà vu, made doubly strange because you’ve never seen anything quite like it before.

It’s all spectacle and the leads get lost somewhere between the art direction and the artless storytelling. DeHaan plays Valerian as a Han Solo type, cocky and quick with a line but his laid-back, off kilter demeanour—so appealing in films like “The Place Beyond the Pines” and “Life”—gets lost amid the noise.

Delevingne, the Meryl Streep of eye roll acting, delivers a speech about love being more powerful than any army that is destined to become a YouTube camp classic. A psychic jellyfish sequence recalls one of Delevingne’s high fashion modelling jobs come to life, is beautiful but deeply odd.

Both leads look like they reek of Redbull and herbal cigarettes and provide the film’s most interesting juxtaposition between the flamboyant art design and their blasé performances.

“Valerian and the City of a Thousand Planets” has some trippy space-time continuum stuff but otherwise it’s jammed with the hoariest of clichés, like a ticking clock counting down to doom and an ending right out of “Colombo” complete with flashbacks. There is a sense of fun about some of the creatures—and a wild allusion to eating live monkey brains—but oddly the movie isn’t much fun.

Metro Canada: Big Hero 6 and Isaac Asimov’s robotic rules in the movies

Big-Hero-6-BoyBy Richard Crouse – Metro In Focus

Science fiction author Isaac Asimov’s Three Laws of Robotics are a trimmed down version of The Ten Commandments for androids. Simple, direct and to the point, Asimov declared, “A robot may not injure a human being or, through inaction, allow a human being to come to harm. A robot must obey the orders given to it by human beings, except where such orders would conflict with the First Law. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.”

Asimov’s rules have inspired short stories, video games, music and cartoons. Roland Charles Wagner’s short story gave them an erotic spin in Three Laws of Robotic Sexuality, while the game Portal 2 sees all military androids sharing one copy of the laws of robotics.

In the tune Robot, space rockers Hawkwind sang, “You’d hold the whole world in your metal claws / If it wasn’t for the Three Laws.”

And in the Mega Man series by Archie Comics, automatons are almost defeated by an anti-robotic terrorist group because they must abide by the three laws.

This weekend, Baymax, the lovable inflatable robot at the heart of Big Hero Six, abides by the laws. “Hello,” he says. “I am Baymax, your personal health-care companion.”

The roly-poly inflatable bot can almost instantly diagnose and treat a variety of diseases but even when he is transformed into a crime-fighting warrior, he still plays by the rules.

Asimov’s stories have been turned into films like I, Robot and Bicentennial Man, where the robots follow the dictums. But not all movies stay true to the rules.

In Alien, the Hyperdyne Systems 120-A/2 cyborg character Bishop (Ian Holm) says, “It is impossible for me to harm, or, by omission of action, allow to be harmed, a human being,” but later tries to kill Ripley (Sigourney Weaver) by choking her with a rolled up porno magazine.

The 1951 classic The Day the Earth Stood Still has both good and evil robots. When alien android Klaatu’s message of friendship to earthlings is met with a bullet from a sniper, his eight-foot metal robotic assistant Gort lets loose with a disintegration death ray.

Finally, worse than Blade Runner’s killer android Roy (Rutger Hauer) or the robot gunslinger from Westworld, is Maximilian, the silent-but-deadly android from The Black Hole.

Not only does he wordlessly do the bidding of the evil Dr. Hans Reinhardt (Maximilian Schell), the blood-red bot later merges with his human creator to lord over the fire and brimstone of hell. Lawgiver Asimov surely would not approve.

HOBO WITH A SHOTGUN: 3 STARS

hobo-with-a-shotgun-movie-reviewThe world can be divided into two groups. People who would go see a movie titled “Hobo with a Shotgun” and people who wouldn’t. If you are in the former group you’ll likely love the movie. If not, well, perhaps go see “Jane Eyre” instead.

Shot in Halifax by first time feature director Jason Eisener, the movie is the model for truth in advertising. There is a hobo (Rutger Hauer) and a shotgun. It’s what he does with the shotgun that, depending on your point of view, makes the movie either a grindhouse treasure or a gratuitous blood fest with no redeeming value. You see the hobo has just ridden the rails into Scumtown, the most corrupt Canadian city in the east. Ruled by crime kingpin The Drake (Brian Downey) and his sadistic sons (Gregory Smith and Nick Bateman) it is a cesspool of sleaze where the streets run red with Technicolor blood. The level of carnage brings out the hobo’s inner Charles Bronson as he brings some 20-gauge vigilante justice to the town.

“Hobo with a Shotgun” is like what would have happened if Roger Corman made “Death Wish” with a fake blood budget the size of a James Cameron movie. It’s an unapologetic revenge movie that makes movies like “The Toxic Avenger” seem restrained. Any movie with kitschy lines like “I’m gonna sleep in your bloody carcass tonight” is OK by me as long as it delivers in other ways, and “Hobo with a Shotgun” does. Of course, it is first and foremost a squishy ode to the movies that filled drive-ins and grindhouses during the Nixon years but it also has a deliberate sense of humor about itself—a headline describing the Hobo’s rampage reads, “Hobo Stops Begging— Demands Change”—and seems genuinely affectionate about the movies it is paying tribute to.

“Hobo” even has the same kind of pseudo social commentary that Roger Corman used to try and shoehorn into his exploitation movies. For instance, according to Corman “The Big Birdcage” wasn’t just a babes, bars and bondage women-in-prison picture but a highly nuanced ode to women’s lib. I think Eisener probably has his tongue in cheek when his characters take a stance on the issue of homelessness, but nonetheless the addition of some strange social commentary perfectly fits the tone of the genre he’s trying to emulate.

Director Eisener’s highly developed visual style and sense of the absurd fuels the entire movie. It’s clear that most of the budget probably went to Hauer’s salary and the blood supply, but Eisener makes the most of every scene using inventive camera angles and tinting the action with lurid cartoon colors. Blood has never looked this red and b-movies have rarely looked this cool.