Directed and co-scored by John Carpenter and written by Carpenter and Larry Sulkin, Ghosts of Mars is the story of an intergalactic police officer and her team traveling to Mars for a prison transport where things go wrong in the planet. Set in the 22nd century, the film is a sci-fi horror thriller where space cops and a criminal team up to battle monsters on Mars. Starring Natasha Henstridge, Ice Cube, Jason Statham, Clea Duvall, Pam Grier, and Joanna Cassidy. Ghosts of Mars is a stylish but messy film from John Carpenter.
It’s the 22nd Century where Mars has been colonized and the planet is now breathable to humanity yet towns are ravaged where the intergalactic police make an unsettling discovery just as they were to transport a prisoner. That is pretty much what the film is about where cops is forced to work with a convicted murderer to fight these monsters as they were once human who are now possessed by ghosts from Mars. Yet, it is told in a reflective manner by Lt. Melanie Ballard (Natasha Henstridge) who reports what happened during a simple prison transfer job to her superiors as it reveals a much larger story. The film’s screenplay is quite simple yet it has a lot of expositions and perspective from other characters in what they saw including Dr. Arlene Whitlock (Joanna Cassidy) who revealed how these ghosts emerge. The multiple perspectives and expositions do create a script that is very messy as well as be over-explained and not allow the audience to create their interpretations into what happened.
John Carpenter’s direction is definitely stylish as it plays into a futuristic setting as much of the film is set at night. Shot on location at a gypsum mine in New Mexico, the film plays into this world that is emerging in its colonization state but is becoming undone by these monsters. While Carpenter would use some wide shots to establish some of the locations, he maintains an intimacy with the medium shots and close-ups as it plays to the severity of what Lt. Ballard and her fellow officers are facing. There are some moments that are exciting in the action but the suspense is kind of lacking as well as uninspired due to the fact that it feels derivative from other kind of films that Carpenter has made. Even as some of the moments involving the visual effects seem to be lacking as it’s probably due to the limitations in the budget. Despite these shortcomings, the film is still entertaining while not taking itself seriously as it does have some humor. Overall, Carpenter creates a thrilling though flawed film about space cops and criminals fighting evil ghosts on Mars.
Cinematographer Gary B. Kibbe does excellent work with the cinematography from the usage of lights and distorted images for some of the scenes involving the ghosts to the interiors as it‘s mostly straightforward. Editor Paul C. Warschilka does some fine work in the editing though it‘s over stylized with its transition wipes and dissolves as it goes a little overboard. Production designer William A. Elliot, with set decorator Ronald R. Reiss and art directors William Hiney and Mark W. Mansbridge, does fantastic work with the look of places on Mars as well as the interior for the prisons and such. Costume designer Robin Michel Bush does nice work with the costumes as it‘s mostly low-key while it‘s more creative for the look of the creatures the cops and criminals have to deal with.
The special effects makeup work of Howard Berger, Robert Kurtzman, and Greg Nicotero is brilliant for the look of the possessed humans who have become enraged Martians as they all have something unique in their look. Visual effects supervisor Lance Wilhoite does some OK work with the visual effects for some of the scenes involving the trains though the effects in the battle scenes look unfinished and awkward. Sound editor Joe Dorn and sound designer David Bartlett do terrific work with the sound as it play into the way the Martians sound as well as some of the gunfire and such. The film’s music by John Carpenter is superb for its electronic-based score filled with synthesizers as the music also feature contributions from the thrash metal band Anthrax as well as some contributions from Elliot Easton of the Cars, Robin Finck of Nine Inch Nails/Guns N’ Roses, Steve Vai, and Buckethead.
The casting by Reuben Cannon is wonderful as it feature some notable small roles from Robert Carradine as a train engineer, Wanda de Jesus as a criminal who fights the Martians, the trio of Duane Davis, Lobo Sebastian, and Rodney A. Grant as a trio of thugs trying to break out Desolation Williams, Liam Waite as the space cop Descanso, and Richard Cetrone as the Martians leader. Joanna Cassidy is terrific as Dr. Arlene Whitlock as a scientist who saw the chaos that unleashed the ghost Martians while Pam Grier is alright in her small role as the police leader Commander Braddock. Clea Duvall is superb as the rookie cop Bashira Kincaid as a young woman new to the field as she is in shock in what she’s seeing as she would eventually grow to kick some ass.
Jason Statham is fantastic as Sgt. Jericho Butler as the comic relief of the film who is a smooth talker and says the funniest lines while being this full-on badass as only someone like Statham could play that role to the fullest. Ice Cube is excellent as James “Desolation” Williams as a wanted murderer who is supposed to be transferred to a prison as he is a cunning and skilled fighter that is aware of what is going as well as reveal some truths into the murders he’s been accused of. Finally, there’s Natasha Henstridge in a brilliant performance as Lt. Melanie Ballard as this no-nonsense cop with a weakness for hallucinogenic drugs that is eager to do her job while knowing what is out there as she tries to help her fellow cops and such fight off against the Martians.
Despite some clunky visual effects and an overwritten yet messy script, Ghosts of Mars is still a worthwhile film from John Carpenter. Thanks in part to a nice soundtrack and fun performances from Natasha Henstridge, Ice Cube, and Jason Statham. It’s a film that has some style as well as moments where it doesn’t take itself so seriously. In the end, Ghosts of Mars is a good film from John Carpenter.
John Carpenter Films: Dark Star - Assault on Precinct 13 - Halloween - Someone’s Watching Me! - Elvis - The Fog - Escape from New York - The Thing - Christine - Starman - Big Trouble in Little China - Prince of Darkness - They Live - Memoirs of an Invisible Man - Body Bags - In the Mouth of Madness - Village of the Damned - Escape from L.A. - Vampires - The Ward
The Auteurs #60: John Carpenter Part 1 - Part 2
© thevoid99 2016
Directed by John Carpenter and screenplay by Carpenter, Debra Hill, and Kurt Russell from characters by Carpenter and Nick Castle, Escape from L.A. is a sequel to the 1981 film Escape from New York in which Snake Plissken is asked by the President and the U.S. government to save the President’s daughter who had hijacked a plane to Los Angeles as she gives a weapon to a rebel leader. The film is another exploration into dystopian America where Los Angeles is separated by the U.S. due to an earthquake as Kurt Russell reprises his role as Snake Plissken. Also starring Steve Buscemi, Stacy Keach, Cliff Robertson, Georges Corraface, Michelle Forbes, Valeria Golino, Bruce Campbell, A.J. Langer, Pam Grier, and Peter Fonda. Escape from L.A. for all of its action and thrills is really just a lazy and uninspiring film from John Carpenter.
Set in 2013 just 13 years after an earthquake had destroyed much of Los Angeles and separated itself from the U.S., the film revolves around Snake Plissken being asked by the President (Cliff Robertson) to retrieve a black box carrying a weapon that can save the country from evil forces as the box had been taken by his daughter Utopia (A.J. Langer). Plissken reluctantly takes the mission due to a virus he is carrying as he has less than 10 hours to retrieve the black box as well as deal with a rebel leader who wants to take down the U.S. and its President. In some ways, it’s really the same narrative of the first film made 15 years earlier but with a different set of rules, villains, and people as the only thing that hasn’t changed is Snake Plissken himself. It’s just that the world Snake Plissken is in is a very weird one and affirmation that he really has no place in the future whether it’s in America or the rest of the world.
The film’s screenplay does play into a traditional structure where much of the first act is exposition in which plays into what happened to America since the events of the previous and what Plissken needs to do. The second act is about Plissken arriving in Los Angeles as he meets an assortment of crazed characters including a tour guide named Eddie (Steve Buscemi), a woman named Taslima (Valeria Golino) who was deported to L.A. because she was a Muslim, a transgender outlaw named Hershe (Pam Grier), and an aging surfer named Pipeline (Peter Fonda). Some of which are either affiliated with the terrorist leader Cuervo Jones (George Corraface) or against him. Yet, many of these characters really just caricatures where some just offer exposition or others are just there for laughs as it never really meshes or do anything to drive the story. Even as everyone knows that the President and his cronies are also villains because of what he wants to do and the bullshit morality that he stands for which doesn’t really make the story very engaging.
John Carpenter’s direction does have its moments in some of the action scenes and how he re-creates Los Angeles as paradise in Hell. Even as it does have some satire in the way the world is along with bits of commentary about a third-world revolution going up against the superpower that is America. Unfortunately, the script’s unwillingness to really do so much more really bogs the film down as Carpenter had to rely on humor to get some things going where it doesn’t really mesh with who Snake Plissken is. Even as there’s a lot of reliance on visual effects that don’t look great or finished as well as moments where it tries to be outrageous but ends up being very dumb. Carpenter’s approach to compositions are still potent in his approach to close-ups and medium shots but there’s scenes that don’t look good such as seeing Plissken surfing nearby or a scene where Plissken has to play basketball to survive. It’s not what he’s about as it doesn’t have the element of suspense nor any stakes that are bigger as it’s ending sort of mirrors the one in the previous film. Overall, Carpenter makes a very messy and dull film about a guy trying to retrieve a black box for some asshole dictator he doesn’t even like.
Cinematographer Gary B. Kibbe does nice work with the cinematography as much of the film was set at night where it features some unique lighting for some of the action scenes as well as play up to the look of Los Angeles. Editor Edward A. Warschilka does some fine work with the editing though it deviates from many of the conventional fast-paced cutting style that is derivative of most action films. Production designer Lawrence G. Paull, with set decorator Kathe Klopp and art director Bruce Crone, does superb work with the set design from the look of the city as well as some of the landmarks of the cities in their post-earthquake look. Costume designer Robin Michel Blush does excellent work with the costumes from the Che Guevara-inspired look of Cuervo Jones to look of the many characters that Plissken encounters in the film.
Special effects makeup designer Rick Baker does some brilliant work with the design of some of the freaks that appear in Los Angeles including those who took too much plastic surgery. Visual effects supervisors Michael Lessa and Kimberly Nelson LoCasio do terrible work with the visual effects where it looks like early 90s computer animation where things look wobbly and some of it looked unfinished as it is among one of the lowlights of the film. Sound editor John Dunn and sound designer John Pospisil do fantastic work with the sound to play up some of the sound effects and layers of sound in some of the action scenes. The film’s music by John Carpenter and Shirley Walker is alright for its mixture of electronics and rock with bits of blues to play into that sense of the old-school that Plissken is fond for while its soundtrack is a mixture of metal, alt-rock, and industrial from acts like Gravity Kills, Tool, White Zombie, Tori Amos, Sugar Ray, the Toadies, Ministry, Butthole Surfers, Stabbing Westward, Clutch, and the Deftones.
The casting by Carrie Frazier is amazing though many of the appearances of such noted cult actors like Pam Grier as an old friend of Plissken in a transgender fighter named Hershe, Bruce Campbell as a weird-looking plastic surgeon from Beverly Hills, Jeff Imada as a gang member, Robert Carradine as a skinhead, Paul Bartel as a congressman, and Leland Orser as an associate of Cuervo as they’re kind of given nothing to do as does Valeria Golino as a woman who helps Plissken to find locations in Los Angeles, Breckin Meyer as a young surfer, Michelle Forbes as an assistant chief to the police force, Stacy Keach as Commander Malloy, and Peter Fonda as the aging surfer Pipeline as they’re just used to appear and don’t do much. A.J. Langer is horrible as the President’s daughter Utopia as she doesn’t really do much for the story nor give any reason to save her as the President himself is indifferent about her. Georges Corraface is alright as Cuervo Jones as this rebel leader who wants to destroy the American dictatorship yet is also just as bad as the President.
Cliff Robertson is pretty good as the President as a man of morality who wants to clean up the country but is also quite ruthless in maintaining his rule as he is given a lifetime term. Steve Buscemi is fantastic as a tour guide named Eddie who is kind of a sleazy guy that is in it for himself and whoever that can give him money where he is the only guy that is able to bring some humor to the film. Finally, there’s Kurt Russell in a brilliant performance as Snake Plissken as this renegade soldier who is forced to take part in a mission to retrieve a weapon in a black box as he copes with illness and other things in a world he doesn’t relate to as Russell is the only thing in the film that works.
While it features a strong performance from Kurt Russell and some exciting action scenes, Escape from L.A. is just a very disappointing and lazy film from John Carpenter. It’s a film that tries to update its predecessor for the 90s but doesn’t do enough to stand out from the original while it is hampered by some bad humor and awful visual effects. In the end, Escape from L.A. is just a bad film from John Carpenter.
John Carpenter Films: Dark Star - Assault on Precinct 13 - Halloween - Someone’s Watching Me! - Elvis - The Fog - Escape from New York - The Thing - Christine - Starman - Big Trouble in Little China - Prince of Darkness - They Live - Memoirs of an Invisible Man - Body Bags - In the Mouth of Madness - Village of the Damned - Vampires - Ghosts of Mars - The Ward
The Auteurs #60: John Carpenter Pt. 1 - Pt. 2
© thevoid99 2015
Directed by Jane Campion and written by Jane and Anna Campion, Holy Smoke! is the story about an Australian family who hires an American counselor to retrieve their daughter who had just ventured into a religious cult. The film is an exploration into the world of spirituality and sexuality as it is a mixture of drama and comedy. Starring Harvey Keitel, Kate Winslet, Sophie Lee, Paul Goddard, and Pam Grier. Holy Smoke! is a witty and compelling film from Jane Campion.
When one finds spiritual enlightenment, it is for someone to fulfill itself through God in some form. Yet, the search for spiritual enlightenment can also be dangerous if it involves cults as a young woman named Ruth (Kate Winslet) seems to lose herself in enlightenment forcing her family to take action by bringing her to the Australian Outback where they hire a man named PJ Waters (Harvey Keitel) who is known for bringing people back to the real world after dealing with some dangerous religious cults. Yet, he faces some challenges in Ruth as he also becomes attracted to her where it conflicts with his intentions as his attempts to bring her back into the real world would end up having dire consequences for both of them.
The screenplay by Anna and Jane Campion explores the world of religious cults where Ruth’s trip to India has her embracing this figure known as Baba much to the concern of family and friends where Ruth’s mother (Julie Hamilton) travels to India to make claims that Ruth’s father (Tim Robertson) suffered a stroke in order to get her home. Once Ruth returns to Australia and learns the truth, she’s understandably upset as she is forced to live in the Outback with PJ while her family live in a house nearby. Still, things become difficult as PJ tries to break into Ruth’s mind as she tries to use her sex appeal to play up his machismo where it would work as PJ is eventually becoming confused as he starts to fall for her. Trouble eventually happens as the Campions do explore a man’s cynicism towards faith against a woman’s love for it yet the way it becomes a bit muddy towards the third act. Notably as it involves PJ’s own realization about himself while Ruth questions herself about who she is where it leads to an ending that is a bit overdrawn.
Jane Campion’s direction is quite interesting for the way she explores the world of spirituality and a man’s attempt to stray a woman away from that world to get back to reality. Campion creates a lot of mesmerizing images including some visual effects scenes that plays to Ruth’s enlightenment as if she did find God. Still, Campion remains grounded in reality as she shoots the film largely in the Outback as well as scenes in Sydney and India. Campion uses close-ups, medium shots, and wide shots to capture the dramatic tension between Ruth and PJ while also adding a sense of comedy for the scenes involving Ruth’s family. Campion also pokes fun a bit at the world of religious cult while exploring the world of sexual power play to see who can outwit who. Though Campion balances that mixture of comedy and drama for the first two acts, the script’s unevenness in the third act does sort of mess things up for her. Overall, Campion creates a very fascinating and unique film about spirituality that sort of falters a bit in its third act.
Cinematographer Dion Bebe does excellent work with the film‘s very colorful and lush cinematography for the many location scenes set in India and Australia in its exteriors as well as some rich lighting schemes for some of the film‘s interiors. Editor Veronika Jenet does nice work with the film‘s stylized editing with the use of some stylized montages in Ruth‘s enlightenment scenes as well as jump-cuts to play with some of the film‘s dramatic and comedic moments. Production/costume designer Janet Patterson, with art director Tony Campbell and set decorators Rebecca Cohen and Lisa Thompson, does wonderful work with the look of the houses in the Outback as well as a bar that Ruth and PJ attend with some of Ruth‘s family members while Patterson also creates costumes from the black clothes of PJ to the white sari of Ruth.
Visual effects supervisor Andy Brown does some terrific work with some of the film‘s minimal visual effects to play out the world of spiritual enlightenment that Ruth is hit by. Sound designer Lee Smith does some very good work with the sound to capture some of the intimacy of the locations as well as the chaos in the scenes in India. The film’s music by Angelo Badalamenti is brilliant for its haunting yet low-key orchestral score to play out some of the drama that occurs in the film. The soundtrack features an array of music from artists like Neil Diamond, Alanis Morrisette, the Shirelles, and Annie Lennox.
The film’s cast is remarkable as it features some standout performances from Paul Goddard and Daniel Wyllie as Ruth’s brothers, Sophie Lee as Ruth’s sister-in-law who tries to seduce PJ, Julie Hamilton and Tim Robertson as Ruth’s parents, and Pam Grier as PJ’s girlfriend/accomplice Carol who shows up late in the film to see exactly what PJ is trying to do. Harvey Keitel is excellent as PJ Waters as a man who is trying to deprogram Ruth only to face new challenges as he’s attracted to her while dealing with his own faults as a man. Kate Winslet is fantastic as Ruth as a woman who believes she’s found faith only to realize that she could really be lost while trying to find something to believe in.
Holy Smoke! is a stellar yet captivating film from Jane Campion that is highlighted by the performances of Kate Winslet and Harvey Keitel. While it’s a film that is quite flawed at times while having some nice commentary about the world of faith and some of its downsides involving cults. It is still an engaging film for the way it reveals a man’s attempt to take away a woman’s enlightenment only to face his own faults. In the end, Holy Smoke! is a very good film from Jane Campion.
Jane Campion Films: Sweetie - An Angel at My Table - The Piano - The Portrait of a Lady - In the Cut - Bright Star - Top of the Lake (TV miniseries) - (Top of the Lake-China Girl) - The Power of the Dog - The Auteurs #25: Jane Campion
© thevoid99 2013
Originally Written and Posted at Epinions.com on 7/26/05 w/ Additional Edits & Revisions.
Based on the novel Rum Punch by Elmore Leonard, Jackie Brownis the story of a stewardess/part-time drug smuggler who gets caught in an embezzlement scam where she's asked by ATF agents to nail her arms dealer friend as she seeks help from a bails bondsman who falls for her. Written for the screen and directed by Quentin Tarantino, the film is another exploration into the world of crime as Tarantino goes for a very different approach as it would have Tarantino injecting romance into the story. Playing the titular character is 70s Blaxploitation star Pam Grier as it would be the role that would mark her comeback. Also Tarantino regular Samuel L. Jackson, Robert de Niro, Bridget Fonda, Chris Tucker, Michael Keaton, and Robert Forster. Jackie Brown is a captivating yet enchanting film from Quentin Tarantino.
After getting a call from his associate Beaumont (Chris Tucker) who had been arrested for drug and weapons possession, arms dealer Ordell Robbie (Samuel L. Jackson) turns to bails bondsman Max Cherry (Robert Forster) to bail Beaumont out. Robbie later meets with Beaumont who is expected to serve some time as Robbie would provide a solution for Beaumont. Meanwhile, Robbie's friend Jackie Brown is arrested by ATF agents Ray Nicolette (Michael Keaton) and Dargas (Michael Bowen) who found a bag of narcotics in her possession. Put in prison with a bail of $10,000, Robbie sends Cherry to bail out Brown where Cherry is smitten by her on the night he picks her up where the two have a drink together at a bar. Robbie later meets Jackie who is upset over what happened yet wants to make a deal with Jackie to get $500,000 out from Mexico so that Robbie can retire.
Though Jackie makes a deal with Robbie, she also to Nicolette about what Robbie is planning as Nicolette wants to go after Robbie over illegal arms sales. With Jackie's deal with Robbie set where Jackie gets a cut, Robbie's old friend Louis hears about the deal from one of Robbie's girlfriends in Melanie (Bridget Fonda). The two decide to make a plan of their own to steal the money from Robbie for themselves. Jackie decides to let Max in on the scheme as she believes that Max is the only person she can trust as he's eager to get out of the bonds business following a near-fatal incident. With a local mall for the money drop and exchange where a trial run with two of Robbie's women goes wrong, Jackie and Robbie decide to do it themselves to get it right. With Nicolette knowing what's going to happen with Max knowing much more, the exchange goes on as planned. Yet, a major screw-up involving Melanie and Louis leads to trouble forcing Robbie to go after Max and Jackie.
While the film, in comparison to other Tarantino scripts and films, Jackie Brown does lack a bit of the pop culture references that always pop up in the dialogue or in a frame. Tarantino gets away from that for something that is more character-driven and it's his most mature work to date. The writing structure Tarantino goes for is more traditional except for the heist scene where it's done in three different perspectives. While Tarantino is often considered a great filmmaker in his unique approach to the crime film genre. It is so easy to forget that he's a writer first. In the way he adapted Leonard's novel into a subdued crime drama, Tarantino goes more for motivation and choices in his scripts where the characters all have something to offer.
Even the subplot involving characters, notably the attraction of Max and Jackie works and it's an example of Tarantino working in a format of romance which he succeeds. The script doesn't even lose itself in its pacing or its intentions since it's a part-character study story but also a wonderful crime story with a bit of romance and comedy. While there is the use of the "N" word throughout the script and film, it's not that harmful since it's said through characters. The "N" word was used by Blaxploitation writers for years and Tarantino is basically wearing a mask to pretend that he's a black writer. Tarantino is just being earnest in not just to those iconic characters he loved but to the genre itself.
In the directing front, Tarantino uses his tricks of steadicams, dolly tracks, and wonderful camera angles to establish a lot of the moments that is happening. Yet those tricks still work, even in the way Tarantino wanted to have an authenticity to the film. The film looks like it was made in the 70s from its opening credits and scene while it gives the movie a sense of style with some substance. One of the best scenes that Tarantino directed that included long shots is the money exchange sequence where its done in three different perspective that all doesn't lose it pace nor does it confuse its audience. Overall, Tarantino creates a truly engaging and well-crafted film that explores the world of crime and the desire to go straight.
Helping Tarantino capturing the authenticity is cinematographer Guillermo Navarro who uses natural, grainy colors to give the film a 70s look, notably in the interior sequences of bars and taverns that has that classic 1970s feel. Navarro and Tarantino manages to capture a look that is distinct and nostalgic. Tarantino's longtime production designer David Wasco and his art team of art director Dan Bradford and set designer Sandy Reynolds-Wasco help give the film that authentic look for its apartments and homes of the characters that is filled with wonderful props to 70s soul music and vinyl while capturing the natural quality of the taverns. Even costume designer Mary Claire Hannan help give the film a wonderful look in the costumes, especially the clothes of Pam Grier who makes sure she looks good. Tarantino's longtime editor Sally Menke gives the film a nicely, leisurely pace and feel to her editing style where at about 155-minutes, the film doesn't feel slow or too fast. Even the film sounds great from sound designer Mark Ulano who helps creates the tension of sound for the film.
Then there's the film's music which is filled with wonderful soul classics plus a bit of hip-hop, rock, and country music. Many of the film's 70s soul classics comes from the likes of Bobby Womack, the Delfonics, Brothers Johnson, Pam Grier, Bill Withers, the Meters, and also Jermaine Jackson, the Supremes, the Grassroots, Foxy Brown, Roy Ayers, and the late Johnny Cash. Tarantino's use of music is often in tune with the characters, including a scene where Jackie plays a Delfonics cut in which Max falls in love with it becomes his theme. It's one of the best pieces and utilization of a song for a character and his development.
Finally, there's the film's amazing cast with some memorable small performances and cameos from Aimee Graham as mall clerk, Hattie Winston and Lisa Gay Hamilton as Ordell's women, Sid Haig as a judge, Tom "Tiny" Lister Jr. as one of Max's bondsman, and Michael Bowen in a memorable performance as Nicolette's partner Dargas. Chris Tucker is funny in a small but memorable role as one of Ordell's boys who gets busted as he has a great moment arguing with Jackson about getting to a dirty trunk of his car. Michael Keaton is wonderfully subdued as the intelligent and earnest Ray Nicolette with his desire to capture Ordell and help Jackie where he becomes an unlikely ally in a masterful performance.
Bridget Fonda is wonderful and sexy as the stoned beach bunny Melanie who might seem like a stoner looking for a good time on the surface but Fonda gives her depth as a woman who knows what's going on while in the exchange sequence, seems more professional than anyone thinks. Robert de Niro gives a quiet and humorous performance as Louis who likes to do nothing but get stoned and watch TV while on a crime spree, he is paranoid and reckless. Though it's de Niro doing comedy, his restraint and recklessness gives the film some nice humor.
Samuel L. Jackson gives another great performance as the charming but vicious Ordell Robbie with his cool demeanor and witty approach to business. Jackson gives the character a lot of likeable qualities as well as intimidating ones. He's a businessman and a charmer but when you cross him, you know you're in trouble as Jackson gives a great performance. The best male performance of the film belongs to Robert Forster as the good-hearted Max Cherry. Forster brings a wise yet cautious performance of a man doing the right thing in every way or form, even if it involves crime. Forster has wonderful moments with Jackson but it's with Pam Grier, Forster is in top form as he and Grier carry great chemistry as Forster plays a reluctant love interest with a lot of heart who is smitten by Grier. It's without a doubt one of the best performances that year.
Pam Grier gives her most brilliant performance to date that just doesn't remind everyone of her iconic status but a woman who still got the chops as an actress. This is Grier in classic form as she proves herself to be both tough and charismatic. She carries the dialogue with a sense of wit and ease while proving that she's still a foxy lady. Grier has great scenes with Jackson and Keaton but her best moments is with Forster as she gives a character that isn't a bad woman but one who will do anything to make money and do what is right for her.
Jackie Brown is an outstanding film from Quentin Tarantino that features an incredible lead performance from Pam Grier as well as remarkable supporting work from Robert Forster, Samuel L. Jackson, Michael Keaton, Bridget Fonda, and Robert de Niro. Armed with amazing visual tricks, great scenery set-ups, and a fantastic soundtrack, the film is truly a majestic piece of work that does a lot more for the world of the crime film. While it's the most restrained film that Tarantino has done, it also showcases the kind of range he has as a storyteller. In the end, Jackie Brown is a triumphant yet heartfelt film from Quentin Tarantino.
Quentin Tarantino Films: Reservoir Dogs - Pulp Fiction - Four Rooms: The Man from Hollywood - Kill Bill - Grindhouse: Death Proof - Inglourious Basterds - Django Unchained - The Hateful Eight - Once Upon a Time... in Hollywood
Related: The Auteurs #17: Quentin Tarantino - Growing Up with Quentin Tarantino
© thevoid99 2012
