Far too many film versions of the The Four Feathers have been made over the years, which is especially surprising considering that this 1939 Korda brothers production is surely definitive. The film simultaneously celebrates and pokes fun at British imperialism, showing the kind of dogged stiff-upper-lippery that forged an empire, but also the blinkered attitudes and crass snobbishness of the ruling classes (and those plummy accents--did people ever really talk like that?). Whatever political subtext may or may not be read into it, though, the film is best celebrated for its magnificent vistas: partially made on location in the Sudan, as well as at the famous Denham Studios, this is British cinema from the days when it thought to rival Hollywood for sheer spectacle. Vincent Korda's production design and the glorious early colour cinematography are helped greatly by fellow Hungarian émigré Miklos Rozsa's epic score. John Clements is the notional hero, the man who is determined to show the world he is not a coward after resigning his commission (even though it would surely have saved everyone a lot of bother if he had just stuck with it) but the film is stolen by Ralph Richardson, magnificent as an officer struck blind and led to safety by Clements' Harry Faversham. The latter scenes when Richardson's Captain Durrance realises the truth and its implications are the most poignant and emotionally truthful in the film. C Aubrey Smith is delightful as the old buffer who relives his battles on the dinner table; to a modern audience, however, the "blackface" casting of John Laurie as the Khalifa strikes a discordant note. But adjusting some expectations for its vintage, this is a triumph of derring-do and far and away the most gripping version of this oft-told story on film. --Mark Walker
Jean-Claude Van Damme plays two roles in Replicant, a surprisingly good action thriller that also stars Michael Rooker as Jake Riley, a cop who's been tracking a serial killer called "The Torch" (Van Damme). Frustrated, Riley decides to retire--and the National Security Department makes him an offer: they've cloned "The Torch" as part of a programme to track down terrorists; they'll turn this replicant (Van Damme again, of course) over to Riley as a sort of test run for the programme. The idea is that the replicant will slowly recall the original person's memories and lead the cops to the original. It's ridiculous, but no more ridiculous than the setup for the highly successful Face/Off, and it works just as well as the engine for an effective action flick. What makes Replicant more unusual is that the writers actually put some thought into the relationship between Riley and the replicant, which starts to mirror parent-child relationships in emotionally complex ways. Furthermore, while it's no surprise that Rooker gives a solid performance, it is surprising that Van Damme does just as good a job in both of his roles--he's perfectly creepy as the serial killer and genuinely affecting as the quickly developing replicant, projecting a mixture of innocence and turmoil. Replicant was directed by Hong Kong director Ringo Lam, the man behind Full Contact and City on Fire. He was clearly working on a limited budget, but the movie looks good, moves with lean efficiency, and has some riveting action sequences and good quality effects--the scenes where Van Damme (inevitably!) fights himself are completely convincing. A satisfying movie.--Bret Fetzer, Amazon.com
A powerful sourcerer from ancient Egypt is one step away from taking over contempory mankind. Only a reborn team of mummies without a clue about the modern world and a resourceful 12 year old boy can stop him. Powerful magic comes up against four fish-out-of-water action-wrapped super-heroes in a fast-paced action-comedy from Ivan Reitman and DIC the people who brought you the animated 'Real Ghostbusters'.
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