To-do list unites strangers in 'Underworld'

Underworld (1997)
Starring; Denis Leary, Joe Mantegna, Annabella Sciorra and Larry Bishop
Director: Roger Christian
Rating: Six of Ten Stars

Johnny Crown (Leary) is back on the streets after seven years in prison. Armed with a new name and a new outlook on life, he sets about tracking down everyone who had even the slightest involvement with the death of his gang-boss father. Along the way, he picks up the enigmatic Frank Gavilan (Mantegna), and, despite Gavilan's initial insistence that he doesn't know Johnny, their shared history--and shared destiny--is gradually revealed. Will Gavilan be added to the ever-growing number of dead bodies that Johnny is leaving in his wake, or does Gavilan fit somewhere else on Johnny's "Things To Do Tonight" list?


"Underworld" is a strange movie. The back cover on the DVD compares it to "Pulp Fiction" and "The Usual Suspects", but, aside from a never-ending stream of banter and fitting into the general category of a crime film, it resembles neither of those films. In fact, drawing that comparison does the movie a disservice... but given that Johnny Crown's name is misspelled on the back cover, I doubt the copywriter even cared enough to watch the entire movie.

This is a film that is ALMOST good... and although I am giving it a Six rating, it's on the verge of a being a Five. I think that another few passes on the script, or maybe some more work in the editing room, and it could have been a Seven or Eight. That same might also be true if the two main actors were capable of... well, more acting. I enjoy both Leary and Mantegna very much, but both are actors of limited range and neither really stretch themselves here.

Parts of the movie would have made more sense if it had been clearer sooner that Johnny and Frank really HAVE known each other since childhood; as things stand, a number of things seem very baffling, because Frank's assertion of not knowing who Johnny is seems genuine, while Johnny's continued talk about wanting to help Frank and being "the best friend ever" simply come across as so much insane, threatening chatter. (Mantegna being the rock-solid, always down-to-earth guy, and Leary always seeming like he's ready to snap and carve up a bus full of nuns with a knife.

The vagueness of Frank and Johnny's relationship is only part of what makes this film confusing to watch. There are a number of characters whose actions are so extreme that even rampant psychosis can't explain it; if the characters really were as crazy as they come across, they would have been dead long before they appeared on screen in the film. Some of it (like the going-ons at a nightclub called the Blue Danube) feels more like a parody of this sort of film noir/crime drama film than seems right for what surrounds it. Parts of the ending have the same sort of parody feel to them.

The one thing that runs through all of "Underworld" is a strange, dreamlike quality. The randomness with which things happen and the characters move from encounter to encounter, the bizarreness of how just about every character in the film behaves (even bedrock Joe Mantegna... because he's almost too calm and unemotional through everything), and the lack of apparent consequence to anything that happens... it all adds up to a film that has a very unreal quality about it. And that unreal quality ends up making the film worth watching, despite the unevenness in how it treats its subject matter.

I give this film a cautious recommendation. It's not a great movie, but it's worth seeing for the odd sense of dreaminess it manages to invoke throughout. I think it's worth seeing if you like crime dramas or quirky movies of any genre. (It's also worth it if you like Leary's standard schtick.)

As of this writing, "Underworld" is out of print both on DVD and VHS.

John Wayne fails to impress in 'Brannigan'

Brannigan (aka "Joe Battle") (1975)
Starring: John Wayne, Richard Attenborough, Judy Geeson, Mel Ferrer, John Vernon, and Daniel Pilon
Director: Douglas Hickox
Rating: Five of Ten Stars

Lone-wolf Chicago police detective Jim Brannigan (Wayne) is sent to England to retrieve his bail-jumping arch-nemesis, mob boss Ben Larkin (Vernon) under an extradition agreement. However, on the very day Brannigan arrives in London, Larkin is kidnapped and held for ransom by a team of highly skilled professional criminals. Brannigan finds himself forced to not only work with detectives from Scotland Yard (Attenborough and Geeson), but also Larkin's slimy attorney (Ferrer) in order to secure the safe return of the criminal-turned-victim. Unfortunately, Brannigan is being stalked by a determined hitman (Pilon) that Larkin hired before being kidnapped, and someone within the ranks of either Scotland Yard or Larkin's gang is playing both sides.


"Brannigan" is a movie with a fabulous cast, witty dialogue, and a fairly decent concept at its heart. It's even a very somewhat clever caper story with the kidnapping and the plot and counter plots surrounding the ransom drops. All of these good traits are squandered on a script that's predictable at every turn (even by 1975 standards, I venture, as some of the "twists" were old for crime dramas by 1940 and others are telegraphed too far in advance) and a film that's overlong and padded with establishing shots that go on for ever and ever (in some cases with bewilderingly dramatic music playing).

It's really a shame, because there was a lot that could have been done with with the very interesting cast of characters here, all being portrayed by top-notch actors. In fact, the British police detectives (Attenborough's Sir Charles and Geeson's Det. Sgt. Jennifer Thatcher) are more interesting than Wayne's Brannigan character. If a little more had been done with Tatcher, Sir Charles--or even with Brannigan's WW2 history in London--this film would have been so much stronger.

In the final analysis, "Brannigan" emerges as a slightly below average police drama that even John Wayne's biggest fans can probably put off seeing.





(Trivia: John Wayne was offered the part of Dirty Harry before it went to Clint Eastwood.)

Sherlock Sunday:A horse brings murder to Baskerville Hall

Murder at the Baskervilles (aka "Silver Blaze") (1937)
Starring: Arthur Wontner, Ian Fleming, Lyn Harding, John Turnbull Lawrence Grossmith and Arthur Goullett
Director: Thomas Bentley
Rating: Six of Ten Stars

Sherlock Holmes and Dr. Watson (Wontner and Fleming) are spending some quiet time in the country at the home of their old friend Sir Henry Baskerville (Grossmith) when an attempt to fix a race involving Sir Henry's prize horse Silver Blaze leads to a double murder.


Although this was Arthur Wontner's final outing as Sherlock Holmes--after a string of five films that caused critics of the day to describe him as the perfect screen Sherlock Holmes--I am choosing to make it the first of his films that I include in the Sherlock Sunday line-up, because of my love of continuity. Story-wise, it seems like it is best placed before the other Wontner Holmes films currently easily available, because it has him still actively employed as a detective and it describes his first direct clash with Professor Moriarty.

I can see Wontner's Holmes appeals to both fans and critics alike. He, moreso than any other actor in the role I've considered in a critical mindset, resembles the illustrations from the original printings in "Strand Magazine" and his Holmes is lively without being too aggressive and often sardonic without being excessively cruel to those he puts down. Best of all, from my perspective, although he is not shy about showing Watson how much smarter he is, he still treats him with the consideration due a friend and one never wonders why Watson bothers spending time with him. Wontner presents a charming Holmes that is somewhat low key when compared to the actors who followed him, but still entertaining. (And watching this Wontner film again makes me think that there must be another reason for why I didn't find Matt Frewer's Sherlock Holmes particularly engaging as the two portrayals are very similar.)

As for Watson, Ian Fleming provides a decent if unremarkable portrayal of Holmes' friend and biography. Both from the way the role is written and the way Fleming portrays Watson, it easy to understand why Holmes associates with him, which is a flaw in many on-screen interperations of the character. Watson even gets a moment in the sun when he is captured by Moriarty's men and remains brave in the face of certain death.

Speaking of Moriarty, who, like Sir Henry Baskerville has been added to the mix by the writers of this adaptation, I very much like the approach taken to him in his film. He and his main henchman, Colonel Moran, are set up like dark reflections of Holmes and Watson. Moriarty is to the underworld what Holmes is to the law-abiding citizen, a genius to whom they can appeal for help when all other avenues have been exhausted. It adds a great deal to the flavor of Moriarty and it makes it even clearer why the two men admired and hated each other so much and why it was so hard for one to defeat the other. (At least in concept. For a criminal mastermind, Moriarty is somewhat hamfisted and clumsy in this particular caper, although that can be excused by his own admission that fixing horse races is not his usual area of activity.)

All-in-all, this is a pleasant Holmes film. It's a little on the bland side, but I think fans of Holmes and 1930s mystery pictures will enjoy it. It's a shame that there does not appear to be a decent copy available on the DVD market. (I've come across three different versions, all equally faded and ragged... perhaps even taken from the same print?)





(I mentioned Matt Frewer's portrayal of Sherlock Holmes above. I invite you to check out my review of "A Royal Scandal" by clicking here and perhaps even leave a comment about why I might be wrong about Frewer as Sherlock Holmes.)

'Runaway Jury' is topnotch courtroom drama

Runaway Jury (2003)
Starring: John Cusack, Gene Hackman, Dustin Hoffman, and Rachel Weisz
Director: Gary Felder
Rating: Eight of Ten Stars

Rankin Fitch (Hackman) is THE jury consultant--a man who, with a large team of investigators and specialists behind him can deliver just about any verdict his corporate clients want him to deliver, by making sure that whatever jury they want seated is seated, and by giving their attorneys the best possible coaching on his to manipulate those jurors once the trial has started. Fitch will also do whatever it takes to never lose. However, when he is hired by a gun manufacturer to handle a wrongful death suit in brough in New Orleans by Wendell Rohr (Hoffman), Fitch finds himself challenged by a mysterious blackmailer (Weisz) who is manipulating the jury from outside of the courtroom, and a juror (Cusack) whose mundane surface during jury selection was a cover for the cypher that is his true nature.


"Runaway Jury" is a highly watchable and greatly entertaining courtroom drama/thriller/mystery film. The cast of wall-to-wall great actors--with special recognition going to Hackman--and the shifting perceptions of who and what the various characters are as the film unfolds will keep those who enjoy this kind of film watching each twist with great anticipation.

The film also features a Big Secret and a Big Revelation at its climax, which, unlike so many other thrillers of recent vintage, actually works, and this despite the fact that it's quite far fetched. This could be due to the fact that it's based on a John Grisham novel, but it could also be to the credit of a well-written script. Whatever the reason, I wish there were more filmmakers who could pull this sort of movie these days.





For more about John Grisham's books and the movies based on them, visit John Grisham Online.

'Disk Jockey' is a quirky gangster film

Disk Jockey (2005)
Starring: Devyan DuMon, Josh Fallon, and Kristin Busk
Director: Zachary Yoshioka
Steve's Rating: Four of Ten Stars

Dane (DuMon) and Frankie B (Fallon) a pair of hitmen who are as fast with their mouths as they are with their triggers, have spent the past six years attempting to track down a computer disk stolen by a former partner, a disk that is a complete record of all the murders they've committed. Just as it seems to be within their grasp, a mysterious trio of gun-toting women snatch it away. Will our murderous heroes prevail (particularly since they only have a 60-minute movie to do so in)?

"Disk Jockey" is a strange little gangster movie that moves with lightning-fast speed from action to goofy comedy to third-wall self-mockery and back again, in a completely unpredictable fashion. This random mix of elements gives the film a playful quality and makes for interesting viewing. The actors very clearly seem to be having while making the film is also transferred to those watching it.

The film is all the more fun to watch in that its leads are actually pretty competent actors. DuMon manages to both be funny and menacing as a hitman who likes to bake pastries in his off-hours, while Fallon shines as the film's third-wall narrator (causing the action to literally freeze in place when he turns to address the viewer) and an annoying "gangsta"-type character.


Another strong aspect of the film is that the director didn't feel the need to pad it to a particularly running length. It runs a very fast, barebones 60 minutes, and not a single second is wasted. I wish more low-budget directors would take this approach. (That said, I think the film might have benefited from a couple of real character development scenes.)

On the downside, there are times when the actors are having just a little too much fun and the film crosses moves well past the line between goofiness and stupidity, such as when one of the female assassins decides to climb some monkeybars while they are covertly sneaking into a house early in the film. The film (and the actors) are also just a little too playful in an extended fight sequence between our "heroes" and their female competitors; either more practice was needed on the part of the actors, or more care was needed to have been taken in filming the fights, because I've rarely seen stage fighting so badly presented on film. Even the most generous viewer won't be able to find the fight convincing, because it's obvious that none of the kicks or blows connect. Basically, it is so obvious that everyone is play-acting that it's impossible to get into the film at those points. (On the other hand, the gun violence is rather nicely done.)

My name is Jean Claude....

A regular name and face in these parts will be Jean Claude Van Damme, a favorite of mine among the action stars who flourished in the 1980s and 1990s (not to mention starring in one of the best movies of the decade just gone by, "JCVD").

Here's a novelty video featuring Van Damme unlike any other you're likely to see. It features a looped clip of the Muscles From Brussels as an extra in the 1984 film "Breakin'". (Beware... the tune is likely to get stuck in your head for several days.)





This bit of weirdness comes to us via Chuck Norris Ate My Baby.

A 1960s satire that remains relevant

The President's Analyst (1967)
Starring: James Coburn, Godfrey Cambridge, Severn Darden, and Joan Delany
Director: Theodore J. Flicker
Rating: Eight of Ten Stars

When Dr. Sidney Shaefer (Coburn) is recruited to be the President of the United States' personal psycho-analyst, he is thrilled and honored. However, being the person the most powerful man in the world can confide in soon becomes too much pressure for Sidney to bear, and, while suffering from a nervous breakdown, he flees Washington, D.C.. This is when his real troubles begin, however, as every foreign intelligence agency in the world (including the Canadian Secret Service) want to capture him and force him to reveal the president's secrets.


"The President's Analyst" is a hilarious satire that skewers the internal politics of the American intelligence and law enforcement services, pokes fun at American society in general, and spoofs the ever-popular chase-thriller. Although some small portions of the film are dated--like the hippies that Shaefer hooks up with while on the run, the obvious spoof of J. Edgar Hoover's FBI, and the scene where the gun-toting liberal from New Jersey explains to Shaefer how he sponsored the "colored family" to move into the neighborhood--most of the comedy remains fresh and even relevant forty years after the film's initial release, marking it as a true classic.

In fact, given how Hollywood seems to be cranking out more and more remakes of movies that don't need to be remade, I'm surprised that we didn't seen a remake of "The President's Analyst" back when everyone in Hollywood was trying to show how George Bush was eeeevil. Perhaps this film is ultimately too politically neutral for the knuckleheads that run the film industry to see that they could have shot the script mostly as-is with just a few search-and-replaces to update it--maybe they can't see past the portrayal of "liberals" or the fact that CIA (sorry, CEA) agents are among the film's good guys? I'm glad no one has taken this classic and turned it into a steaming pile of "reimagined" crap, but I'm astonished it hasn't been done.

The witty, fast-paced script of "The President's Analyst" is delivered with great style by a cast of actors who all turn in a fine job. Coburn in is in fantastic form, with his usual winning smile coming across as hilariously maniacal while Shaefer is proving that just because you're paranoid doesn't mean they aren't out to get you. Cambridge and Darden also turn in funny performances as an American and a Russian spy with shared mutual respect and love of goofy disguises.

Anyone who likes a well-made farce should check out "The President's Analyst"... and should do so before the inevitable crappy remake shows up in theaters or on cable TV.