Directed by Alan Metter and written by Randolph Davis and Michele S. Chodos, Police Academy: Mission to Moscow is the story of a police academy commandant and his team of misfit graduates and a young cadet who travel to Moscow to aid a fellow commandant in taking down a Russian mafia boss. The film is an exploration into the post-Cold War relationship between America and Russia as a lot of hi-jinks ensue where a group of American misfit cops use unconventional tactics to take down the bad guys. With returning franchise cast members Michael Winslow, David Graf, Leslie Easterbrook, G.W. Bailey, and George Gaynes reprising their roles from past films. The film also stars Charlie Schlatter, Claire Forlani, Ron Perlman, Gregg Berger, and Christopher Lee as Commandant Aleksandr Nikolaevich Rakov. Police Academy: Mission to Moscow is a very unfunny and trite film from Alan Metter.
Asked to aid the Russian police force in taking down a Russian mafia boss who has created trouble by creating a popular yet addictive video game. Commandant Eric Lassard (George Gaynes) travels to Moscow with his team to aid them where a lot of craziness ensues as well as Lassard’s sudden disappearance all because he went into the wrong car. This would force Lassard’s team to work directly with the Russians led by Commandant Rakov and his aide Lt. Talinsky (Gregg Berger) who would spend much of the film trying to find Lassard. The film’s screenplay tries to inject a lot of humor into the film as it involves Captain Harris (G.W. Bailey) trying to prove American’s superiority against the Russians to bumbling results.
Yet, it feels forced as the antics of Captain Callahan (Leslie Easterbrook), Sgt. Jones (Michael Winslow), and Sgt. Tackleberry (David Graf) also feels tacked on. A subplot involving the American cadet Connors (Charlie Schlatter) trying to woo Russian officer Katrina (Claire Forlani) feels like it belongs in another film. One moment that proves to be very silly is a moment where Callahan tries to seduce the mafia boss Konstantin Konali (Ron Perlman) by being a lounge singer where it takes the story into more idiotic territory. It plays into the fact that the cops are dealing with a criminal who is quite smart and cunning as well as elements of cultural tension.
Alan Metter’s direction does take great stock into shooting on location in Moscow where he takes great advantage into shooting into some of its landmarks and locations. Yet, that is the only thing in the film that is worth noting as everything else is just uninspired as Metter doesn’t really do much to get things going. The compositions are simple yet some of the gags not only feel dated but also the game itself where it is obviously played on a GameBoy without a cartridge which is odd in a bad way. It’s among these elements in the film that makes it very hard to watch as the attempts to create something funny just feels forced and downright silly such as the idea of Captain Harris as a ballerina. Overall, Metter creates a film that tries too hard to be funny but ends up being the opposite.
Cinematographer Ian Jones does nice work with the cinematography to play into the look of Moscow as it‘s just very simple though nothing really stands out visually. Editors Dennis Hill and Suzanne Hines does fine work with the editing as it plays into some of the film‘s humor and action no matter how uninspired it is. Production designer Frederic C. Weiler, with set decorator Sergey Shiriaev and art director Ilia Amoorsky, does excellent work with the look of some of the restaurants and places that many of the characters go to. Sound editor Clancy T. Troutman does terrific work with the sound to capture some of the antics that goes on including the sound effects that Jones make. The film’s music by Robert Folk is pretty good as it brings in some themes from past films along with some Russian-inspired pieces to play into its location.
The casting by Melissa Skoff is quite good for the ensemble though many of them are wasted due to the poor script and silliness of the film. Among the small performances include Richard Israel as a game designer, Vladimir Dolinsky as a bellboy who pretends to be Lassard, Stuart Nisbet and Pamela Guest as news reporters, and Alexander Skorokhod in a terrible performance as Boris Yeltsin. Gregg Berger is OK as Lt. Talinsky though he spends half of the film trying to find Lassard while Christopher Lee ends up being very foolish as Commandant Rakov as he gets little to do in the film. Claire Forlani is alright as Katrina as a Russian officer/interpreter who befriends Connors as all she wants is a vacation while Charlie Schlatter isn’t very good as Connors as a cadet with a case of vertigo who tries to be cool when he isn’t a top cadet.
G.W. Bailey has his moments as Captain Harris as he is more helpful this time around though his attempt to surveillance things often has him in bad moments. Michael Winslow and David Graf are terrific in their respective roles as Sgt. Jones and Sgt. Tackleberry as they each bring in some moments though their schticks don’t really work in a different setting. Leslie Easterbrook is superb as Captain Callahan as the lone American woman whose job is to seduce Konali only to get into some trouble. Ron Perlman is the film’s best performance as Konstantin Konali as a Russian crime leader who tries to create the ultimate scheme where Perlman definitely camps it up in order to make things exciting. Finally, there’s George Gaynes as Commandant Eric Lassard as the eccentric police leader who spends much of the film hanging out with a Russian family as it ends up being a detriment to the film where it seems like Gaynes is in another movie than what is really going on.
Police Academy: Mission to Moscow is an awful film and definitely the worst film of the franchise. It’s a film that wanted to do so many things but ends up being very unfunny as well as dated in its humor. Especially when it features only a handful of characters that audience love where it’s clear that several favorites from past films are sorely missed. In the end, Police Academy: Mission to Moscow is a film that just plainly sucks.
Police Academy Films: Police Academy - Police Academy 2: Their First Assignment - Police Academy 3: Back in Training - Citizens on Patrol - Police Academy 5: Assignment Miami Beach - Police Academy 6: City Under Siege
© thevoid99 2015
Written and directed by Julian Schnabel from various stories by Michael Thomas Holman, Lech J. Majewski and John F. Bowe, Basquiat is the story on the life of the famed post-modernist painter Jean-Michel Basquiat who rose to fame in the 1980s with his take on painting and art. The film is an exploration into Basquiat’s desire to make art as well as growing disdain towards the middle class as he is played by Jeffrey Wright. Also starring Dennis Hopper, Claire Forlani, Gary Oldman, Benicio del Toro, Michael Wincott, Parker Posey, and David Bowie as Andy Warhol. Basquiat is a mesmerizing yet exhilarating film from Julian Schnabel.
The film is a bio-pic of sorts about the famed street artist Jean-Michel Basquiat who came from the world of graffiti art in the late 1970s to become one of the most revered post-modernist painters of the 1980s New York City art scene until his death at the age of 27 of a drug overdose in 1988. Yet, what writer/director Julian Schnabel does is create a film where a young man rises up from the streets to the get attention of many only to struggle with fame as well as the need to rise above many including the middle class who saw him as a sellout. It’s a film that does play into that rise and fall scenario but it’s more about the idea of being an artist and having to struggle with all of the temptations of fame.
Even as there are those who are exploiting him while there are others who are just drawn to him like Andy Warhol who becomes a mentor of sorts for Basquiat. While the script does use that scenario, it is also a character study of sorts in how Basquiat does things as an artist as an act of rebellion only to lose himself in a world of commerce and admiration. It all plays into this high-octane world of art as everyone wants a piece of him yet there are those like the esteemed art critic Rene Ricard (Michael Wincott) who felt betrayed by Basquiat as well as old friends of him who aren’t interested in that high-class world of New York City art.
Schnabel’s direction is quite simple in terms of compositions but it has elements of style in the way it plays into the world of New York City art with its galleries and presentation which is exciting at times but also has this air of elitism. There are elements of styles that includes footage of a surfer on a wave that Basquiat often sees in the sky as it plays into Ricard’s article as he talks about Van Gogh and how a new generation of art enthusiasts must not have another one since Van Gogh in his lifetime only sold one painting. Yet, what would happen if Van Gogh was discovered in his prime and would gain fame as these are some of the questions that Schnabel asks. Even as he uses art to help tell the story where it would emphasize many of Basquiat’s struggles with it as he isn’t just seen as a major African-American who breaks into the art world but someone who is redefining the idea of what art is.
While the film doesn’t feature any actual art of Basquiat due to rights issues, Schnabel and artist Greg Bogin do create paintings and such that play into the style that Basquiat would define. Since the film is shot on location in New York City, it does play as a character in the film where it has this mixture of high-society and high culture where everyone who is anyone can participate but there’s also an element of street culture that Basquiat is from. It adds to the dramatic conflict that is prevalent in the film as it’s third act plays into Basquiat’s own descent as he tries to find answers through many including Warhol who is convinced that Basquiat is a much better artist. Yet, it’s not enough to help the young artist who would cope with drug addiction as Schnabel brings in elements of surrealism as well as a story that plays into everything that Basquiat would endure as a famous artist. Overall, Schnabel creates a very stylish yet captivating film about the young life of Jean-Michel Basquiat.
Cinematographer Ron Fortunato does excellent work with the film‘s very naturalistic photography for the exterior scenes in New York as well as some unique lighting for some interior scenes as well as scenes set at night. Editor Michael Berenbaum does brilliant work with the editing with its stylish usages of dissolves and jump-cuts to play into Basquiat‘s unconventional approach towards art. Production designer Dan Leigh, set decorator Susan Bode and art director C.J. Simpson, do superb work with the look of the apartments and studios that Basquiat would live and work at as well as the galleries where his art is often in display.
Costume John A. Dunn does nice work with the costumes from the posh clothes of some of the people in the world of art to the dresses that some of the women wear. Sound editor Ira Spiegel does terrific work with the sound as it‘s mostly low-key to play into the sense of silence in how some create paintings as well as scenes where Basquiat tries to play music with his band. The film’s music by John Cale and Julian Schnabel is wonderful as it‘s very low-key with its emphasis on piano and guitar-based music while music supervisor Susan Jacobs creates a dazzling soundtrack that features music by the Rolling Stones, Public Image Ltd., David Bowie, Tom Waits, the Pogues, Bill Laswell, Them, Iggy Pop, Charlie Parker, Miles Davis, Grandmaster Flash & the Furious Five, and many others.
The casting by Sheila Jaffe and Georgianna Walken is fantastic as it features some notable appearances from Vincent Gallo as an artist, Sam Rockwell as a street thug, Michael Badalucco as a deli counterman, Willem Dafoe as an electrician early in the film, Courtney Love as a woman Basquiat would have a tryst with, Tatum O’Neal as a rich woman looking to buy one of Basquiat’s paintings, and Christopher Walken as a journalist who interviews Basquiat as he tries to understand the meaning of his work. Elina Lowensohn is terrific as the art enthusiast Annina Nosei who wants to expose Basquiat to the art world while Parker Posey is wonderful as the art gallery director who would help expose Basquiat to the public. Dennis Hopper is excellent as the art dealer Bruno Bischofberger who would become the agent that would make Basquiat rich as he is also friend of Andy Warhol. Benicio del Toro is amazing as Basquiat’s friend Benny who is part of Basquiat’s circle early on as he tries to cope with his friend’s success and how it’s changed him.
Gary Oldman is superb as the artist Milo who is a friend of Basquiat as he tries to help him cope with fame. Claire Forlani is brilliant as Gina as Basquiat’s girlfriend from the early 80s who also desires to be an artist as she also tries to cope with his sudden fame and changing attitude. Michael Wincott is incredible as Rene Ricard as the famed art critic/poet who discovers Basquiat as he presents him to the world only to feel betrayed. David Bowie is phenomenal as Andy Warhol as Bowie manages to convey many of the quirks and voice mannerisms of the famed pop artist as it is definitely Warhol coming back to life. Finally, there’s Jeffrey Wright in a remarkable performance as Jean-Michel Basquiat as this brilliant artist who would change the landscape of art as he copes with fame and later being admired as Wright bring a charisma and energy to the character.
Basquiat is a tremendously rich film from Julian Schnabel that features a marvelous performance from Jeffrey Wright as the late street artist. Featuring a brilliant soundtrack, compelling ideas on art and commerce, and a supporting cast that includes David Bowie as Andy Warhol. It’s a film that explores the life of one of the finest artists of the 20th Century and the dichotomy he would fact that became the source of his work as an artist. In the end, Basquiat is a majestic and evocative film from Julian Schnabel.
Julian Schnabel Films: Before Night Falls - The Diving Bell and the Butterfly - Berlin: Live at St. Ann’s Warehouse - Miral - At Eternity's Gate - The Auteurs #43: Julian Schnabel
© thevoid99 2014
