Sphere: adapted from the Michael Crichton novel by Kurt Wimmer, Stephen Hauser, and Paul Attanasio; directed by Barry Levinson; starring Dustin Hoffman (Dr. Norman Goodman), Sharon Stone (Dr. Beth Halperin), Samuel L. Jackson (Dr. Harry Adams), Peter Coyote (Captain Baines), Liev Schreiber (Dr. Fielding), and Queen Latifah (Fletcher) (1998): A fairly famous mess in 1998 and still something of a mess now. But separated from tales of budget over-runs and what Dustin Hoffman correctly noted was a movie that needed a lot more re-writing and editing before release, Sphere just seems like a dud now and not an indictment of studio interference.
The U.S. military discovers a mysterious spacecraft 1000 feet below the surface of the Pacific Ocean near Guam. Inside that spaceship is a giant glowy sphere that seems to be made out of liquid mercury but really isn't. A team is sent to investigate. Dustin Hoffman, at the conclusion of his brief flirtation with the big paychecks of Event Movies, plays a psychologist who has been chosen to lead the civilian portion of the team because he wrote a paper on First Contact procedures for the first Bush administration. The two other big names in the cast, Sharon Stone and Samuel L. Jackson, play a biologist and a mathematician respectively. The lesser names in the cast play Cannon Fodder 1-4.
Barry Levinson's direction gets as much tension out of some of the exterior underwater scenes as it can, generating a real sense of panic in a couple of sequences as strange marine lifeforms menace our intrepid but whiny team. Sphere's fatal flaw is a scrambled, creaky script that results in scenes that are under-explained and long stretches of gratingly repetitive dialogue that even a solid cast can't make interesting. Even the threat, once revealed, doesn't make as much sense as the film-makers and the characters seem to think it does.
The movie is also rife with stupidities that exist solely to create plot tension (Hey, let's park the emergency escape sub a five-minute swim from the base, and while we're at it, let's not give the team any powered underwater craft to move between the base and the sub or the base and the spaceship!). There's also a truly incredible late howler involving the decoding of an alien message that I'm pretty sure a smart four-year old would catch. Not anyone involved with this movie, though!
There is one great twist early in the movie. Unfortunately, once we're past that twist, Sphere's fairly amazing similarity to a pair of Star Trek episodes* -- one from the original series and one from the Next Generation -- becomes more and more noticeable. Only much slower, stupider, and more boring and punctuated again and again with frustrating, repetitive scenes of people talking around and around in circles. Sphere could have been interesting, a fresh riff on movies like Alien and The Thing with a high-level cast and a major director. Instead it's a botch, though you may find yourself watching to the end just to see how big a botch it is. Not recommended.
* Spoiler alert: Sphere mashes together TOS's "Where No Man Has Gone Before" and TNG's "Where No One Has Gone Before." I kid you not.
The General: written by Buster Keaton, Clyde Bruckman, Al Boasberg, Charles Smith, Paul Smith, and William Pittenger; directed by Clyde Bruckman and Buster Keaton; starring Buster Keaton (Johnnie Gray) and Marion Mack (Annabelle Lee) (1926): Buster Keaton's big-budget Civil War comedy astonishes in part because pretty much everything on-screen involving trains actually had to be filmed live. The timing of the various stunts and comic bits is impeccable, and the direction superb.
Keaton was the most gifted comic director of his time, a much more innovative figure than Chaplin in that regard. The sting of cheering for the Confederacy has been muted by Keaton in a number of ways, most notably by his complete omission of African-Americans from the screen. It's a comic triumph that will nonetheless infuriate some people for its glib view of the South. There are also some odd bits in which soldiers for both the Union and the Confederacy being shot to death get played for laughs. Highly recommended.
Crimson Peak: written by Matthew Robins and Guillermo del Toro; directed by Guillermo del Toro; starring Mia Wasikowska (Edith Cushing), Jessica Chastain (Lucille Sharpe), Tom Hiddleston (Thomas Sharpe), Charlie Hunnam (Dr. McMichael), and Jim Beaver (Carter Cushing) (2015): Guillermo del Toro delivers a love letter to Edgar Allan Poe, Gothics, haunted houses, ghost stories, and the 1950's and 1960's horror movies of Hammer Studios and Roger Corman. Oh, and Stanley Kubrick's The Shining. Rebecca. "The Turn of the Screw." "The Beckoning Fair One." And a whole lot of others. Also, a guest appearance by Buffalo, New York.
The production and costume design are extraordinary, colour-super-saturated in the manner of many of Corman's Poe adaptations while also supplying the requisite amount of decay and disintegration. Mia Wasikowska is solid as the late-19th-century American woman who chooses the wrong English guy, Tom Hiddleston conjures up some Vincent-Price-like morbid empathy as he plays that wrong guy, and Jessica Chastain is sinister and loopy as the wrong guy's sister.
There are even elements of steam punk in Hiddleston's clay-digging machine, and a tribute to Sherlock Holmes (and creator Arthur Conan Doyle, fully name-checked in the narrative) in the person of Charlie Hunnam's opthamologist/ghost-hunter/amateur detective.
There's nothing subtle about the movie -- it wears its metaphors on its brightly coloured sleeves. All this, and the ghosts -- as in the del Toro-produced Mama -- are stunningly creepy, a triumph of visual effects and the imagination of del Toro and his designers. This movie isn't for everybody. The build is just a tad slow in the first half, while in the second half del Toro pulls away from the cataclysmic finale antecedents such as "The Fall of the House of Usher" have primed us to expect. Highly recommended.
The Innocents: adapted from the Henry James novella "The Turn of the Screw" by John Mortimer, William Archibald, and Truman Capote; directed by Jack Clayton; starring Deborah Kerr (Miss Giddens), Megs Jenkins (Mrs. Grose), Martin Stephens (Miles), Pamela Franklin (Flora), Peter Wyngarde (Quint) and Clytie Jessop (Miss Jessel) (1961): Director Jack Clayton's adaptation of "The Turn of the Screw" is also an adaptation of a stage play based on "The Turn of the Screw." The play supplies many of our governess-protagonist's speeches, which Deborah Kerr pretty much nails -- though I'd always pictured Miss Giddens as being much younger than Kerr was at the time of her performance.
The set-up is simple and direct. A governess is hired to take care of the two orphaned charges of their uncle. They reside at a country estate. Miss Jessel, their previous governess, died under mysterious circumstances, as did the estate's head groundskeeper Mr. Quint. But the longer the governess stays at the estate, the more disturbing the circumstances become. The children begin to behave strangely once older brother Miles returns, expelled from boarding school for unnamed acts. The governess starts to see strange figures and hear strange noises. But the cook doesn't see or hear any of these things. The Uncle in London doesn't want to be bothered with anything to do with the children. The governess is in charge of the household. What will she do?
The movie doesn't really answer the faulty either/or binary posited in much of the 150 years of literary discussion about "The Turn of the Screw." Are ghosts haunting the governess' two young charges or is everything in her head? The movie, like the text itself, evades the binary and instead works best with both possibilities existing simultaneously. They're not mutually exclusive.
The Innocents manages to create a genuinely creepy atmosphere through direction, cinematography, sound, and the occasionally unnerving performances by the two child actors. There are a couple of 'Gotcha!' moments that involve the sudden appearance of a specter, but for the most part the movie relies on a gradual accumulation of distressing details.
Two changes from the original text limit some of the film's possibilities. "The Turn of the Screw" was told as a narration inside a narration decades after the events of the story; the movie omits this construction. James' original forces the reader to consider the fact that the governess went on being a governess for decades after the events of the story while also parenthesizing the entire story inside the governess' own telling of it, recounted to another person decades later. The movie also tries to be a bit more overt in explaining why Miles got expelled from boarding school, limiting the more unnerving possibilities of what Miles is capable of -- and of what Quint and Jessel subjected he and Flora to.
The whole thing works very well, though it is occasionally a bit mannered. Both the supernatural and the psychological work within the movie to gradually build a sense of dread. The acting is fine throughout, from the salt-of-the-Earth cook to Kerr's increasingly freaked-out governess to the two preternaturally coy and manipulative children. Highly recommended.
Re-Animator: adapted from the H.P. Lovecraft novella "Herbert West, Re-Animator" by Dennis Paoli, William Norris, and Stuart Gordon; directed by Stuart Gordon; starring Jeffrey Combs (Herbert West), Bruce Abbott (Dan Cain), Barbara Crampton (Megan Halsey), David Gale (Dr. Carl Hill), and Robert Sampson (Dean Halsey) (1985): Richard Band's score channels Bernard Herrmann's score for Psycho as Vertigo-riffing opening credits zip by. Then we get this weirdly faithfully unfaithful adaptation of a novella that H.P. Lovecraft essentially wrote on a dare and considered complete schlock uncharacteristic of all his other stories.
Schlock and grue and hyper-violence and nudity are all in writer-director Stuart Gordon's wheelhouse. Indeed, Re-Animator would help make his name and his studio's name as a creator of enjoyable, bloody, violent, witty, and low-budget horror movies. Gordon on less pulpy Lovecraft fare such as "Dagon" or "The Dreams in the Witch-House" -- not so good. Gordon on Re-Animator, From Beyond, or the Re-Animator sequels? Just fine.
I had forgotten the lamely acted romantic plot that weighs down parts of this movie. Really, I'd forgotten Bruce Abbott and Barbara Crampton, the ostensible leads of the movie, completely. Jeffrey Combs as Herbert West and David Gale as Dr. Carl Hill are the real stars, along with a whole lot of resurrected dead people, mobile body parts, and extremely angry resurrected cats. Gordon throws blood and guts around, but he does so with wit and a fair idea for what makes a horror movie gross and funny even as it occasionally verges on disturbing the viewer. I'll be damned if I completely understand part of the climax, though: sometimes a little exposition is a good idea.
Jeffrey Combs holds the screen whenever he's on it, which is never enough. He certainly captures the gonzo spirit of Lovecraft's obsessed Resurrection Man. And Gale is a hoot, never moreso than when he's menacing people while his head is separated from his body. The splatter effects are cheerfully bright, as is West's day-glo-green Resurrection Fluid: in reality, the liquid from inside a glowstick. Recommended.
