WE AS A CULTURE ARE FASCINATED WITH REMAKES, BUT MAYBE WE SHOULDN’T BE.
It seems that a lot of cinema today is either a sequel, part of a wide cinematic franchise, or a remake/reboot/re-imagining of an existing property. The term “reboot” has become the go-to phrase for when studios want to remake an older film. In my opinion, the only thing that gets “rebooted” is a crashed computer, but that’s just me.
Remake fever is kicking into high gear again, with Disney remaking their old animated films as live action ones and remakes of male-driven films with female leads, and it has been announced that Ben Affleck won’t be returning as Batman in the next Batman film, which is sure to lead to a reboot of the character, again. But it’s not just films: TV series are going through this as well, with the recent remakes of Magnum PI, MacGyver and many others, as well as talk of a reboot of Lost, which has been off the air for fewer than ten years. It got me thinking about this fascination with remakes.
To fully review a movie like Captain Marvel you need to spoil some things. It’s inevitable and necessary. For those of you who wish to go in as blind as I did, I’ll keep this first part spoiler free. My version of spoiler free, which means ZERO plot and character details.
Anyone who has ever listened to my podcast or read any of my work knows I’m very critical of Marvel. I feel that too many people grant them a pass on all their problems and grade on a curve. When movies like “Ant-Man and the Wasp” are getting 7s and 8s out of 10, I feel like I missed a round of kool-aid. Not saying that it was a bad film at all; it was a blast. Was it Captain Marvel? Absolutely not. Captain Marvel is exactly the movie I wanted and avoids nearly all the pitfalls I was afraid of. I haven’t been this impressed with a Marvel outing since the first Avengers.
THERE ARE SOME GREAT MOVIE SCORES OUT THERE ATTACHED TO SOME REAL DUDS.
I am a huge fan of Film, TV and Video Game scores; easily 90% of my music is made up of them. I have several composers that I will listen to no matter what they do, and I have even watched films based on the music they composed for them. What I have come to notice throughout all of this is that some films do not deserve the music composed for them.
When it comes to music in films it is usually the last thing that is done. The film is almost out of money and people are brought in to create incredible compositions to compliment the visual feast of what is on screen. That’s not always the case, however. Sometimes the music doesn’t compliment the visuals, but rather supersedes them because the visuals just aren’t that good to begin with. The music in a film can create emotional responses as well as physical. I remember sitting in the cinema watching Avengers: Infinity War and the moment where Thor arrived in Wakanda brought a huge smile to my face. A huge part of that excitement came from that bombastic orchestral score. I have listened to it numerous times but I will repeatedly listen to a track called “The Forge” which contains the moment that Thor arrived in Wakanda. When that music kicks in I feel like I can do anything. Music has a way of instilling these raw emotional responses and film music is charged with doing that whilst also complimenting the visuals.
Because of my love of film scores I take note of particular composers
and seek out their work without ever having watched the film they are
written for. Sometimes when I finally get around to watching the film
it’s…well, to put it politely…not good. I’m left with a sense of
disappointment, not because the film is bad, but because the music I
listened to was far too good to be associated with the terrible film I
just watched. And that, my friends, is disappointing.
A perfect example of this phenomenon was the 2012 feature remake of The Sweeney. Lorne Balfe composed the score and at the time I had only heard his Assassin’s Creed III score, which was spectacular. When I listened to the music from The Sweeney I was blown away by how good it was. The experience was intense, ratcheting up the tension before opening up and becoming a bombastic action score that to me rivaled some of the biggest names in Film Composition. It was so good that I thought the film would be worth watching. So, I did just that, for about 40 minutes. What an awful mess with terrible dialogue and acting. The only saving grace was the music but I didn’t have to watch the terrible film to listen to the incredible music. I went back to listening to the music and tried to forget about the terrible film it was associated with, and in my mind made up a much better one.
This was the first time I had thought about the quality of the music vs the quality of the film. In recent years, big budget blockbuster films have had incredible scores composed for them while the films themselves have been by the numbers summer VFX films. Hans Zimmer has a name as a big blockbuster composer and it’s interesting listening to the music he composes for big budget blockbusters compared to the stuff he composes for the more story-driven films. Films like Interstellar and more recently Blade Runner 2049 feel like they have more thought put into the music, whereas his action scores are, whilst exciting, very much by the numbers, much like the films they are written for.
The most recent example of a bad movie having a great film score was the 2017 reboot of The Mummy. Brian Tyler composed a unique and interesting score that mixed Middle Eastern instruments with traditional orchestra, all of which lead to a very original sound. Mixing the two cultures expertly in the music created something that was much better than the film it was supposed to accompany. What was also extraordinary about Tyler’s score was that for the most part it was a live orchestra which is becoming more of a rarity with the advances in music synthesizers and the need to cut costs wherever possible.
Terrible films aren’t going away any time soon, but at the very least their scores will be top notch. These composers who are putting in the work will go on to bigger and “hopefully” better things, almost like some kind of composer rite of passage. If they can compose amazing music for these terrible films, then imagine what they could do with something of a higher caliber. Without terrible films needing talented but unknown composers, people like Brian Tyler, Lorne Balfe and Ramin Djawadi may not have been able to build a portfolio of work that got them their well deserved A-List assignments.
A LOOK BACK AT A DUMB, IRREVERENT SUPER HERO FILM THAT REMAINS MY FAVORITE.
Man, 1999 was such a vibrant year for film. You had movies like Being John Malkovich, The Matrix, 10 Things I Hate About You, Office Space, American Pie Fight Club, The Mummy, and even Kubrick’s last film Eyes Wide Shut. A veritable cinematic feast, if you will. I can’t think of another time period that such an impact on my taste, humor, and sensibilities.
A LOOK AT A BOX OFFICE BOMB THAT WOULD BECOME A MODERN CLASSIC.
Stephen King is mostly known as a horror writer; however, he has ventured into other genres on numerous occasions, although mostly with shorter stories. He wrote an anthology of short stories that made up the collection Different Seasons. One of the stories in this collection was called “Rita Hayworth and Shawshank Redemption”, which writer and director Frank Darabont would option for $5,000 and turn into one of the most celebrated motion pictures of all time.
A LOOK BACK AT A MOVIE THAT, WHILE FUN, DOESN’T QUITE HOLD UP.
Twenty years ago a little movie from reportedly douche bag director, Troy Duffy, hit the scene. For years to come shitty posters have lined the walls of undergrad male’s dormitories, while they all scream about how great this movie was, and how you should see it, because only they have seen it, and they want to introduce you to its amazingness… If you listen to them, and sit down with a brew to watch the movie, you’ll be entertained, sure, but that’s about it. I still don’t get what was so damned special about this movie, and I was TOTALLY caught in the storm of it.
For my research, I’ll look the trailer. Like the majority of you, I only ever saw the
trailer on the DVD copy my mom bought me.
At the time, I thought it was awful.
It shows the whole movie! It
shows the best scenes! It gives nearly
everything away! And to the 16 – 25 year
old crowd this movie is singularly targeted for, this is horrible. To everyone else, thank god the trailer shows
as much as it does, or no one would ever watch it. The movie is a hard sell to the most receptive
crowd, so in my opinion, the trailer does its job. This isn’t some religious propaganda movie,
nor is it insulting religion, we get that.
This movie will have fun violence that is shot differently, we get that
too. The movie has a pretty good sense
of humor, we kinda sorta get that. All in
all if this was a movie coming out today, and I saw this trailer I’d see
it. I’d wait for video, but I’d see it.
I realize I came across really negative on the movie… uh… I
Imagine a time when comic book movies were not even a genre and the idea that they would dominate the box office would be laughable. Imagine a time when a film based on a comic book was seen to be a huge risk. That time is 1978 and a film was on the horizon that would change American Cinema forever. That film was Superman. At this point the most well known comic book adaptation was the live action Batman starring Adam West. The campy series was the exact opposite of what producers Ilya Salkind, Alexander Salkind and Pierre Spengler wanted to achieve. The development of Superman is the stuff of legend and borderline insane.
Need some alternative holiday films? Matt has got you covered!
As the time of turkeys, trees and tinsel descends, also does the time of cheesy movies about Santa, hyperactive elves and reindeer. Not everyone is a fan of these kinds of films but they’re hard to avoid, so I decided to give you a list of five alternative Christmas movies you can watch this yuletide season.
A look back at 50 years of the walking dead and the legacy they left behind.
OK, so before you bite my head off, I know that zombie films have been around for longer than 50 years. The title of this article refers to the zombies as we know them today which begun with Night of the Living Dead. The “zombies” in Night of the Living Dead are closer in lore to vampires than actual zombies. While zombies are reanimated corpses, they didn’t turn others into zombies by biting them before Romero. In fact, Romero never referred to the monsters in Night of the Living Dead as “zombies”; they called them “Ghouls” in the film. He rarely had characters referred to them as “zombies” in his subsequent films, I can only recall one usage of the word “zombie” and that was in Dawn of the Dead. Anyway, back to the subject at hand.
Looking back on the legacy and influence of Snake Plissken.
Three words. Three small words introduced us to the baddest of all badasses, the man of few words, the one-eyed anti-hero Snake Plissken. My first introduction to the John Carpenter creation was on a television screen in Menorca at the age of 13. Escape From New York was playing on one of the channels in Spanish without any subtitles, making it difficult to understand. What caught and kept my attention was the incredible opening theme music, as well as the gritty and slightly futuristic look. I couldn’t look away.
When we were back in England I asked my parents to get me a copy of the film on VHS. Months later it was my 14th birthday and inside the colourful wrapping paper was a black VHS case with an image that remains iconic in my mind to this day: the giant decapitated head of the Statue of Liberty on the ground and three people being chased by a hoard of men with “John Carpenter’s Escape From New York” plastered on the cover. I jumped for joy and broke open the case immediately and removed the cellophane that covered the tape. I slid the cassette into my video player and I pressed play.
For the next 90 minutes I was transported to the grimy streets of Manhattan Island Maximum Security Penitentiary in the futuristic world of 1997 (bear in mind I saw this in 2001) and introduced to a cast of characters that were quirky, chilling, cool, dangerous and fun. I was totally immersed in the film and when it was over I rewound the tape to the beginning and watched it again. The high-tech police force contrasted against the no-tech prison fascinated me, but the biggest draw for the whole film for me was Plissken himself.
The character of Snake Plissken had gone on to inspire the character of Solid Snake in Hideo Kojima’s Metal Gear Solid series, and only upon replaying it did I realize the connection. Let’s face it, Solid Snake is Snake Plisken and the game was basically Escape From New York: The Game. His gruff, gravelly voice is practically an imitation of Plissken’s. Both are forced into taking their assignments, both are captured, both find a tough female and neurotic male ally on the inside, and their only communication with the outside world is through a radio. As if that weren’t enough, both Solid Snake and Snake Plissken sport the iconic eye patch.
But I digress. Escape From New York was not some big-budget blockbuster, instead it was shot on a relatively low budget in St Louis. In fact, there is only one “New York Shot” and even that was actually two different shots edited seamlessly together. This is because they could only afford to shoot for one day in New York.
The shot in question is the tracking shot where Rehme walks into the Liberty Island Security Control room to get the call from air traffic control. The shot pans over into complete blackness, and then with a cut we find ourselves in Los Angeles as the panning shot continues on, showing the helicopters and approaching prisoner transfer bus. It’s a seamless edit that I wouldn’t have even known existed until I watched a documentary about the making of the film.
Throughout Escape, Snake acts as an of angel of death of sorts. Everyone he interacts with inside of the walls of the prison ends up dead, with exception of the President. He’s also pursued by death by way of the countdown on his watch, which promises his own demise. Because of this he has a do-anything attitude to accomplishing his mission, ready to screw anyone over who can help him find the President.
Kurt Russell talks in an interview about the moment he knew that the character of Snake was going to be a hit, they were shooting one night and John Carpenter wanted a shot of him running down the street and turning down an alley. They shot it and as Kurt turned the corner there were four big guys coming around the corner from their side. Because of the eye patch he wore Kurt had gotten into the habit of tilting his head to look at people and as he did that the four big guys backed away saying “Easy, easy, it’s cool.” After coming back out of the alley and back down to where the crew were set up Kurt said to John Carpenter, “I think this character’s gonna work.”
And of course it works. Snake Plissken just oozes a pure sense of “Do not fuck with me” in every scene in the film. He has such a presence on screen. It’s clear to see how Kurt Russell became the huge movie star that he is today off the back of his performance in Escape From New York.
The opening title sequence does an incredible job of setting up the world through voice over, provided by an un-credited Jamie Lee Curtis, and enhanced by Computer Generated Imagery. It is not the only piece of fake CGI that is in the film, for the sequence were Snake enters the prison he is flying a glider that has computer generated images of the cityscape, or so we the audience are led to believe. In actuality the CGI we are looking at is actually a scale model of the city with the corners of the buildings covered in high contrast tape and filmed it under a black light. The realistic models of New York were achieved by laying out a map of the city and scale model buildings made from cardboard and plywood were placed on top, the streets were blacked over with tape to give them a realistic look of a street. For the POV shot of the plane speeding towards New York the effects team painted the studio floor with a high gloss black paint to simulate the water that surrounded Manhattan Island. Future director James Cameron worked on the film, providing some of the matte paintings and working on the effects shots of Air Force One.
The supporting cast are fantastic in their respective roles. Lee Van Cleef plays the role of Hauk – the opposite of Snake. It’s easy to see that if Snake had remained on the side of the law he could have ended up just like Hauk. Hauk is just as fearless as Snake, and their first meeting shows how tough he is when four guards have brought Snake to him and he asks them to leave them alone. Throughout the film he is the only one who really believes that Snake can accomplish his mission, even though he can be seen as an antagonist for Snake he is also his only ally on the outside. This is a recurring theme in the film: snake’s allies are also his enemies. Brain – played by Harry Dean Stanton – double-crosses him multiple times.
The characters are quite well-developed for what is really a B-movie; they all have their own backstories. Donald Pleasence came up with an entire backstory for why the President of the United States is British. None of it was used but it was that sort of work that informed his performance creating a solid character. He also brought some of his own real-life experiences of being a Prisoner of War in his performance, the blonde wig he is wearing when Brain and Maggie break him out was his idea.
Issac Hayes portrayed the Duke of New York with an imposing level of seriousness. When he spoke he spoke with a slow and deliberate manner to make people listen and pay attention to every word he said. There was also some very subtle things that Hayes injected into the role. The Duke has a slight twitch in his right eye which is only seen a few times but it adds a level of depth to the character that not many other B movies would have in their characters. In contrast to the serious Duke of New York there is his right hand man Romero, named after director George A. Romero. Everything about Romero was to the extreme from his general look to his over the top performance, he is the audience’s first glimpse of the occupants of New York and it leaves an impression. His creepy demeanor as he slowly counts down from twenty still makes an impact today. Romero was portrayed by Frank Doubleday who appeared in Carpenter’s Assault on Precinct 13 as the robotic and unfeeling White Warlord who calmly guns down a 12 year old girl. Here he is the opposite, everything is over the top in his performance. Doubleday was given total creative freedom when it came to Romero, the voice and look were all his choices.
Where the story is quite a simple one, what really makes it work is Carpenter’s direction and world building. The creepiness and desolation of New York makes it a character in itself. Carpenter originally wrote the screenplay in 1974 as a response to the Watergate scandal, it was turned down by various studios for amongst other reasons they felt it was too violent. He put it to one side until the success of Halloween allowed him to strike a two-picture deal with Avco Embassy, the other film being The Fog. Carpenter brought in his friend Nick Castle to polish up the script. Castle had played The Shape in Carpenter’s Halloween years earlier. Some of Castle’s changes were to add a sense of humour to the film. He also tweaked the ending that Carpenter felt needed some work.
Where Halloween is probably seen to be John Carpenter’s most successful film, Escape From New York is easily his most ambitious. I recently saw the film in a packed cinema and was once again glued to the screen throughout. The moment Carpenter’s score kicked in a smile came across my face and I was engrossed from start to finish. It’s nice to see that all these years later the film can still keep me engrossed the same as it did all those years ago. If I had the option, I would have tried to get the cinema to restart the movie from the beginning. It’s easy to see why the film and the character of Snake Plissken has become such a cinematic icon, even though the attempt to continue the story of Snake Plissken did not live up to the original’s gritty and grimy tone it didn’t stop the character from being any less iconic.
The only way I can think to wrap this up is by quoting the man himself, “The name’s Plissken!”