Movie Review

  • Mary (2019)

    Mary (2019)

    ByChristian Sauvé Movie Review

    (On Cable TV, June 2020) Over the decades, Gary Oldman has gone from playing Sid Vicious to Winston Churchill and has, along the way, become an elder statesman of movie acting—the kind of highly respected actor with a successful long-life career. Seeing him pop up to headline a cheap schlock horror film like Mary is a surprise, and he definitely lends far too much gravitas to what remains a down and dirty production. In many ways, Mary is the kind of horror film we’ve seen far too often, with a supernatural force far more interested in stylish kills than efficiently dealing out its revenge. As a result, don’t expect the film to make any sense once you get to the end—but what the film does have is a distinctive take on nautical horror, with plenty of nighttime rain as the boat is rocked back and forth and people aboard are possessed in various ways. It’s a bit tedious, although from time to time, Oldman does deliver a few speeches above the film’s level and the framing device is handled in a generally competent way.

  • DeepStar Six (1989)

    DeepStar Six (1989)

    ByChristian Sauvé Movie Review

    (In French, On Cable TV, June 2020) There were at least three high-profile underwater action/SF films released in 1989, and while DeepStar Six is certainly not the worst of them, it has to settle for a distant second place after The Abyss, beating out Leviathan. Taking its cues from Alien, this film takes us to an underwater research station with eleven cannon fodder candidates, as they free a monstrous sea creature that seems to have a persona vendetta against all of them. Considering its medium budget, DeepStar Six does better than you’d expect in evoking an atmosphere of blue-collar workers stuck in a hostile environment: the sets are reasonably credible, and the film does feature plenty of underwater sequences. The monster is also decently handled by director-producer Sean S. Cunningham (of Friday the 13th fame) and some of the more horrific sequences are handled with a veteran director’s competence. It does sport an interesting cast if you’re into character actors and/or attractive actresses, with Nancy Everhard, Nia Peeples and the distinctive Miguel Ferrer as part of the ensemble cast. DeepStar Six would be far better remembered today if The Abyss hadn’t existed because the comparison only highlights just how limply DeepStar Six handles promising elements. This is, after all, a film with a prehistoric undersea monster, traitorous humans, hard-shell diving suits, underwater fights and nuclear weapons—it should be much, much better than it is. But it’s not—it’s merely watchable, perhaps even entertaining if you’re hankering for what it has to offer. But it will always be the also-ran.

  • Jailhouse Rock (1957)

    Jailhouse Rock (1957)

    ByChristian Sauvé Movie Review

    (On Cable TV, June 2020) There’s really one reason to watch Jailhouse Rock, and it’s not the plot, in which a hoodlum goes straight after discovering the power of music. Who plays the lead role, though? Elvis Presley, and he’s the reason why the film is still worth a look. While fans will debate whether this is Elvis’ finest film, most will agree that the title number is The King’s finest moment on-screen: shot like a music video with an expressionistic set, it shows Presley at his absolute prime. The plot, in which a young man goes from convict to musical sensation to Hollywood star, is not bad but it’s not original. As a showcase for the young Presley, however, Jailhouse Rock is nothing short of fantastic and does give justice to The King in his early glory. What exceeds expectation is Presley’s willingness to play an unlikable character—one who starts the film by killing someone with his own bare hands, then spends the rest of the film ready to smash guitars and faces at the slightest opportunity. Making a bid for a bad-boy image, Elvis doesn’t quite know he’s a star yet—but the camera suspects something is up. It’s a disappointment that the film is shot in black-and-white, but then again it wasn’t working with a particularly high budget to begin with. Still, Jailhouse Rock does have another distinction: helping to birth a new kind of musical, away from Broadway inspirations and more closely aligned with then-burgeoning pop music.

    (Second Viewing, On Cable TV, June 2021) Clearly meant to be an Elvis Presley vehicle –his second top billing after Loving You, but the first built from the ground up for him–, Jailhouse Rock is interesting to modern viewers as one of the inflection points in between the classic Hollywood musical and the modern rock video. It’s obviously one of the first films to embrace the rock-and-roll offshoot of rhythm and blues, as it’s about a young convict learning guitar in prison, then going on to stardom as his songs go from relatively sedate numbers such as “Don’t Leave me Now” to catchier “Treat Me Nice” to the faster-paced “Jailhouse Rock” (still acknowledged as Presley’s most memorable screen number) before coming down romantically in time for the finale. Regrettably shot in black-and-white, it was meant as a fast and cheap production rather than an MGM flagship and the seams show – aside from the title number, almost self-contained in its choreography and visual presentation, the film is a by-the-numbers take on the sudden-stardom ur-story, with a dash of romance, business drama and personal growth thrown in. For Elvis, his characterization as a short-tempered, physically violent ex-con (wow, that scene where he walks in an office and starts slapping a records executive!) must have bolstered his bad-boy image – it’s not exactly a heroic role, but it works in context. It’s easy to watch Jailhouse Rock today and see its place as a transition between a certain idea of what a musical film should be, and what it would evolve into later on – with the exact recording of a pop hit taking over the interpretations that, until then, had dominated the genre. It’s alternately naïve (due to sticking to a familiar narrative template) and a bit off-putting due to the lead’s constant violence. But Jailhouse Rock remains well-worth seeing for the title number alone, and for the rest if you’re even a casual Elvis fan.

  • Undercurrent (1946)

    Undercurrent (1946)

    ByChristian Sauvé Movie Review

    (On Cable TV, June 2020) Wait, wait! There’s a film in which Vincente Minelli directs both Katharine Hepburn and Robert Mitchum? Why did no one tell me? Well, it’s probably because they’ve seen it, considering how all three are playing outside their wheelhouse in Undercurrent. A domestic thriller the likes of which were popular at the end of WW2, it features a demure spinster who marries a mysterious rich man but ends up having a closer affinity with his brother. There’s a bit of gothic romance to the story as hints of mental instability creep in and the action moves to murder: it doesn’t escalate to noir, but there’s still a creepy drama underscoring the entire film. The threat may come from inside the house, but Undercurrent’s biggest twist is that Hepburn plays a meek character, Mitchum plays a sensitive guy (for barely three scenes), Robert Taylor plays the creepy villain, and Minnelli tries his hand at suspense, all of which is completely at odds with their strengths. One of Hepburn’s last role as a debutante (she was 39!), the film isn’t particularly good nor terrible: it’s interesting for the eyebrow-raising use of familiar names in unfamiliar roles, but if you’re looking for a good domestic thriller of the era, you might as well have another look at Gaslight.

    (Second Viewing, On Cable TV, July 2021) The only thing better than a film that brings familiar names together is a film that uses those familiar names against type. Of course, saying that about Undercurrent is misleading, as it takes place early in the career of two of its three marquee names. So here we have MGM musical director Vince Minelli going for a quasi-gothic thriller, steely Katharine Hepburn settling for a soft and weak character, and noir icon Robert Mitchum playing a refined and good-hearted character. (Plus, leading man Robert Taylor going for moustache-twirling psychopathy.)  It’s quite a ride if you’re coming to it with different expectations, and it’s probably that which distinguishes my second better-informed viewing for the first – in between the two, I developed my own appreciation for those three names, and Undercurrent clearly plays against them. Otherwise, well, there’s not much more to say: from a detached narrative perspective, the film does go hard for gothic mysteries, as the new wife of a mysterious man gets to gradually unveil the secrets surrounding his brother. The film is designed to be overly melodramatic, and feels long at something like 115 minutes. It’s not a bad watch but not a particularly fine example of a form perfected by Rebecca or Gaslight – but it’s worth a look if you’re too comfortable in what to expect from any of the marquee names.

  • Major League II (1994)

    Major League II (1994)

    ByChristian Sauvé Movie Review

    (On TV, June 2020) The key to the Major League franchise is a love of baseball and of the series’ characters, so it’s not a surprise if sequel Major League II falls flat if you’re lukewarm on either of those. Using nearly every writing trick in the book to bring back the same characters and recreate the same situation as the first film (not matter how nonsensical it can be), the film barely bothers to hide its preposterous nature. At least Charlie Sheen and others are mildly amusing in their roles, with Margaret Whitton tearing up scenery as the returning villainous owner. Considering how eagerly it returns to the formula of the first film, Major League II does feel self-congratulatory at times—which grates once the film fails to live up to its own expectations: the jokes fall flat, the repetition is ridiculous (this may be one of the few sequels that feels worse if you’ve recently seen the original) and everything seems neutered and less adventurous thanks to the PG-13 rating. Is Major League II watchable? Well, sure, I guess. Is it rewatchable, though? That depends on whether you’ve seen the first film recently.

  • Skjelvet [The Quake] (2018)

    Skjelvet [The Quake] (2018)

    ByChristian Sauvé Movie Review

    (In French, On TV, June 2020) It’s not that surprising to see the same producer-writer team behind Norwegian disaster film The Wave going on to produce an equally suspenseful disaster sequel. What is more surprising in The Quake is that it features the same main cast, back for a city-destroying earthquake after experiencing a deadly tsunami. What are the odds, right? Appropriately enough, the accumulation of trauma does form an integral aspect of the film… perhaps a bit too much, in fact. Still, the centrepiece here is the quake itself—a bit restrained compared to similar American films (I’m thinking of 2012, notably) but still effective thanks to a handful of long shots that sell the mayhem. While the earthquake only hits an hour and a quarter into the film, the last half-hour has a lot more action than the rest of the film, as the high-rise hotel in which the characters are stuck is gradually destroyed by the aftermath of the event. There are some solid suspense sequences here, notably in a penthouse restaurant that keeps tipping over when the floors below are destroyed. But you do have to be patient: it takes more than an hour of various portents for the action to begin, and the film is a bit cruel in killing off one returning character. It’s also noteworthy that The Quake doesn’t play the same refined playbook as other Hollywood disaster films: There are few action scenes before the main one, and the film does not set up an aftershock of some sort to present a renewed danger in time for the third act. It makes The Quake feel more focused, but also emptier than other similar films. Still, the Norwegian setting does add a lot of interest and you can enjoy the film as one of the few modern disaster films that’s not a hyperactive mess from beginning to end.

  • 12 to the Moon (1960)

    12 to the Moon (1960)

    ByChristian Sauvé Movie Review

    (On Cable TV, June 2020) What begins as an earnest, halfway-plausible anticipation of men going to the moon transforms rather quickly into silliness, as the moon landing is followed by alien-driven adventures. If you’re in a generous mood, 12 to the Moon can be rather charming in its all-encompassing illiteracy, no matter whether we’re talking plotting, science or characterization. The black-and-white cinematography does make the film seem older than 1960—I would have pegged it as early-1950s, even though it makes pointed references to the then-beginning American effort to go to the Moon. The production values aren’t too awful for such a low-budget film, and the cinematography attempts to do much with what it has. What’s perhaps more interesting is 12 to the Moon’s admirable attempt to portray an international crew—including a black man and an Asian woman. Alas, we’re often close to tokenism, especially as stereotypes take more space than characterization. (Guess the nationality of the hero? The country of the villain is a surprise, though!) The plot is more unpredictable than you’d expect, more an undisciplined gonzo reflection of the film’s pure hokum than any honest desire to keep viewers on edge. Still, this wild narrative does have the advantage of making the film occasionally feel more interesting than most of its low-budget brethren—just enough for a small independent picture like 12 to the Moon to make it all the way to the twenty-first century and still earn mildly positive notes, even if for the wrong reasons.

  • Xia dao lian meng [The Adventurers] (2017)

    Xia dao lian meng [The Adventurers] (2017)

    ByChristian Sauvé Movie Review

    (On TV, June 2020) I must have missed the memo on Chinese cinephile Francophilia, because The Adventurers is the third recent Chinese film mostly set in France featuring international jewel thieves in vast French estates that I’ve seen in as many months. Whereas Armour of God 3 had Jackie Chan, this one has Andy Lau, and Jean Reno to provide local colour. (Amazingly enough, almost all of Reno’s lines are in English, which makes sense from an international marketing standpoint but still feels weird to me.) Director Stephen Fung is at his best when handing the action and suspense sequences, his camera moving smoothly throughout his shots. But while The Adventurers delivers the essential successfully, it doesn’t add much to the tried-and-true caper formula. It’s watchable enough without being memorable. A few pacing issues arise in-between the big action scenes… and since the action set-pieces are front-loaded, it makes the end of the film feel disappointing without a clear climax. Add to that the familiarity of just about every sequence (although I did like the bit inspired by Mission: Impossible) and The Adventurers can’t claim to be more than a mildly entertaining film for the crowds. But at least it succeeds at that.

  • Quatermass and the Pit aka Five Million Years to Earth (1967)

    Quatermass and the Pit aka Five Million Years to Earth (1967)

    ByChristian Sauvé Movie Review

    (On Cable TV, June 2020) One of the best Science Fiction films of the late 1960s, Quatermass and the Pit stakes out a very different kind of Science Fiction than many of its Hollywood contemporaries. Third Hammer film to feature the character of Professor Bernard Quatermass, it begins under 1960s London as an archaeological discovery ignites an investigation that, in turn, becomes science fictional and horrific. The distinctive late-1960s London flavour, presented in muted colour cinematography, adds quite a lot to the atmosphere. Compared to other monster movies, this one spends far more time on the quasi-procedural investigation to understand the creature than the expected sequences of death and destruction. It helps that the characters are smarter than the usual bears—or rather the usual SF protagonists of any era. The low budget and limited production means do damage the impact of the film, but the better-than-average quality of the script makes up for it. The impact it had on the later Lifeforce is undeniable, but Quatermass and the Pit is more than worth a look by itself.

    (Second Viewing, On Cable TV, February 2021) I thought a second look at Quatermass and the Pit would be dull, but it’s actually making me enjoy its blend of procedural detail and apocalyptic narrative even more. I still tremendously enjoy the hook, as a dig beneath London for an Underground extension reveals fossilized evidence of aliens invading the Earth and modifying the ape species to become human. There’s an intellectual cleverness to the way Quatermass and his team approach the problem and try to figure it all out with honest science. Then the film shifts in second gear as the historical curiosity becomes a present-day threat, with London eventually succumbing to a paranoid mind-control ray. While the budget of the film can’t quite accommodate the shift to apocalyptic spectacle, the film does try its damnedest to make us believe and does deliver a halfway-credible climax. Frankly, I’d like to see more movies along the same line, with a little bit more control over special effects and pacing. It’s quite a fun film, and a second viewing goes down more smoothly than I expected.

  • 20 Million Miles to Earth (1957)

    20 Million Miles to Earth (1957)

    ByChristian Sauvé Movie Review

    (On Cable TV, June 2020) There’s a way of seeing 20 Million Miles to Earth as nothing more than a standard 1950s creature feature, with enough stop-motion animation and landmark-destroying creature rampage to be emblematic of the era. Indeed, the script isn’t worth praising—it’s a mishmash of lousy science in which a mission to Venus brings bag the egg of a creature that grows up to attack much of Rome. But the fun of the film lies elsewhere—specifically with the stop-animation from Ray Harryhausen (who co-wrote the story) to portray the monster. Never mind that it takes quite a bit of time to get to the good parts of the film when the monster shows up: when it shows up, the film sharply increases in interest. (The Coliseum-set climax is not bad at all.) Harryhausen’s typically great animation helps this film stand apart from the pack, and ensures that it’s still at least slightly enjoyable to watch today. More than simply representative of its era, 20 Million Miles to Earth can be great fun to watch in the right indulgent frame of mind.

  • Killer Movie (2008)

    Killer Movie (2008)

    ByChristian Sauvé Movie Review

    (In French, On Cable TV, June 2020) Sophomoric slasher Killer Movie isn’t much to talk about, no matter how you slice it. The premise blends a reality-TV show with stacked corpses to no good effect, wringing even less out of the concept than countless other horror films with more or less the same idea. The low-budget production means of the film do no one any favour, with the hockey-related material being particularly fake from this Canadian perspective. Writer-director Jeff Fisher makes a few attempts at self-awareness, but they’re so broad that they fail to improve the film’s execution and impact. It all ends up being very dull if you’re not a fan of slasher horror. The most notable thing about Killer Movie is an early film role for Kaley Cuoco, but it’s not much and certainly not enough to save the film from the doldrums.

  • Across the Pacific (1942)

    Across the Pacific (1942)

    ByChristian Sauvé Movie Review

    (On Cable TV, June 2020) What looks like one more WW2 propaganda film is given slightly more interest by featuring none other than Humphrey Bogart. Not stepping too far away from his persona in Across the Pacific, he plays a dishonourably discharged soldier who ends up on a ship going to Panama and gets involved fighting a dastardly plan by the Japanese. Far more of a thriller than an outright military film, much of it plays on-board the confines of a ship, with Bogart investigating a Japanese sympathizer on-board. There are clear echoes of The Maltese Falcon here, given that both movies share Bogart, the always-menacing Sidney Greenstreet, Mary Astor and director John Huston. A decent-enough adventure, Across the Pacific (which never even makes it to the Pacific), is nonetheless dragged down by uneven pacing and too-late narrative development. As a propaganda film, don’t expect much subtlety in its depiction of Japanese characters—in fact, expect to be very uncomfortable whenever they appear on-screen and the xenophobia gets roaring. Still, Bogart is Bogart and if you can stomach the stereotypes, the film is interesting enough.

  • Le retour du grand blond [The Return of the Tall Blond Man with One Black Shoe] (1974)

    Le retour du grand blond [The Return of the Tall Blond Man with One Black Shoe] (1974)

    ByChristian Sauvé Movie Review

    (In French, On Cable TV, June 2020) Well, you can’t accuse the filmmakers behind Le retour du grand blond of not delivering what the audiences are asking for—the film insistently returns to what made the first film Le grand blond avec une chaussure noire funny and doesn’t bring many new ideas to the table. As a result, this sequel quickly runs out of energy: even the primary “twist” of the sequel, having the protagonist play the secret agent he’s not supposed to be, doesn’t feel like a particularly good idea. (There is more plot here than in the first film, but it’s not necessarily better.) Pierre Richard once again gives his best to the film, but the material he’s served doesn’t recapture what made the first film so enjoyable. Oh, there are funny moments here and there—and the film is certainly watchable—but Le retour du grand blond really feels like most sequels: one more hurrah, but without the spark.

  • Le grand blond avec une chaussure noire [The Tall Blond Man with One Black Shoe] (1972)

    Le grand blond avec une chaussure noire [The Tall Blond Man with One Black Shoe] (1972)

    ByChristian Sauvé Movie Review

    (In French, On Cable TV, June 2020) While the French comedy Le grand blond avec une chaussure noire is a well-constructed film from the get-go, it’s impossible to watch today without feeling that all of it depends on Pierre Richard’s lead performance. He seems uniquely suited to the role of a gaffe-prone violinist who gets unknowingly dragged into the great deadly game of espionage. His befuddlement is hilarious, and he plays the material he’s given so convincingly that you’ll nearly forget the slickness of the script, the unobtrusive talent of writer-director Yves Robert, or the decent production means invested in the film. A further proof of Richard’s domination of the role is found in the American remake, The Man with One Red Shoe, which stars the capable Tom Hanks and features even better production means, but can’t quite reach the comedy of the original. It’s all quite silly, faster paced than many comedies of the era, and features Mireille Darc in a jaw-dropping dress. French comedy is often pretty good, but Le grand blond avec une chaussure noire is even better than most.

  • First Men in the Moon (1964)

    First Men in the Moon (1964)

    ByChristian Sauvé Movie Review

    (On Cable TV, June 2020) Much like the 1960 version of The Time Machine, this 1964 adaptation of H.G. Wells’ 1901 novel First Men in the Moon has at least two layers of historical archaeology for twenty-first century viewers—the “modern” 1960s framing device, and the 1899 story of how three English people made it to the moon using the gravity-nullifying substance Cavorite. It all makes for a surprisingly enjoyable romp, well in the hybrid tradition of Hollywood movies and Wells’ original novel. Featuring a bit of steampunk before steampunk was even a thing, First Men in the Moon can also depend on the beautiful Martha Hyer as a member of the expedition, and some great step-motion animation from Ray Harryhausen. Where the novel falters after a good opening half is when the lunar exploration gets silly and less interesting as aliens pop up. The ending, amusingly enough, does have a cute reference to Wells’ The War of the Worlds. The comedy of the film can be misplaced or inconsistent—it dies down during the second half, which adds to that section’s problems. Still, this is not a bad film—not up to its potential, perhaps, but already better than one would expect.