Lethal Weapon 2

Directed by Richard Donner and screenplay by Jeffrey Boam from a story by Shane Black and Warren Murphy, Lethal Weapon 2 is the follow-up to the previous film from 1987 where Martin Riggs and Roger Murtaugh who are tasked to protect a federal witness who is involved with a smuggling operation from South African dealers who are protected by diplomatic immunity. The film is another mixture of action with buddy comedies as Mel Gibson and Danny Glover reprise their respective roles as Riggs and Murtaugh as they‘re joined by Darlene Love, Traci Wolfe, Mary Ellen Trainor, Damon Hines, Ebonie Smith, and Steve Kahan who all reprise their roles from the previous film. Also starring Joe Pesci, Patsy Kensit, Derrick O’Connor, and Joss Ackland. Lethal Weapon 2 is an explosive and enthralling film from Richard Donner.

When a group of South African dealers catch the attention of Martin Riggs and Roger Murtaugh and the rest of the LAPD, what happens becomes a war between good and bad in a film where these two men try to do whatever to get these men despite their protection under diplomatic immunity. Once they are reassigned to protect an obnoxious federal witness in Leo Getz (Joe Pesci) who is connected to this smuggling case involving these South African government officials led by this consulate. Riggs and Murtaugh do whatever to nab these men and find evidence that can allow them to be tried under American jurisdiction but complications ensue once these men make the war with the LAPD very personal which only push Riggs and Murtaugh to the edge.

The film’s screenplay definitely shows these two mismatched partners not only becoming closer and bring out the best in each other but also give them a chance to have an element of balance into their different personalities. Especially as Riggs often goes to Murtaugh’s home where he reveals to Murtaugh’s wife Trish (Darlene Love) about his wife’s death years ago which shows Riggs opening up more to Murtaugh and his family. Upon getting assigned to protect Getz, the element of comedy starts to get more into play where Riggs and Murtaugh find a foil in the often irritating Getz who is this accountant that always curse and complain about things as he also knows a lot as he proves to be a vital asset to Riggs and Murtaugh in their case.

The antagonist in these South African smugglers and criminals led by this consul-general named Arjen Rudd are men who are driven by money and power as they transport illegal currency to apartheid-era South Africa. Even as the case would have revelations about Riggs’ own past in laundering money for smugglers which he wasn’t proud of as it played into his decisions to join the police force. Rudd and his men not only use devious tactics to intimidate Riggs and Murtaugh where they would break-in the latter’s home to scare him and his family. Even the rest of the LAPD get pushed to the breaking point as Riggs and Murtaugh’s superior Captain Murphy (Steve Kahan) wants to go after them but various jurisdiction issues prevent them from doing what is right. Once the film’s third act had the LAPD pushed to the breaking point where both Riggs and Murtaugh realize that these men don’t respect the law. The two would do whatever it takes to carry out their own brand of justice.

Richard Donner’s direction is quite extravagant in terms of action sequences and the fact that he has something to say about the idea of apartheid. Even where he would put some humor such as a scene where Murtaugh and Getz enter the South African consulate embassy where they would harass officials in order to get Riggs to antagonize and confront Rudd and his men. While much of the humorous moments are shot in intimate manners as it would include some very funny gags such as reaction to Murtaugh’s daughter Rianne (Traci Wolfe) making her acting debut in a condom commercial. It is balanced by this air of suspense and action that plays out in the film where it adds to the stakes of what Riggs and Murtaugh have to deal with.

The action sequences are very explosive that includes this montage where Rudd’s men do horrific things to try and wipe out the LAPD as there’s some dark elements that play into the drama. Even as Getz becomes a target which adds to Riggs and Murtaugh to take the law into their own hands where it’s third act features some of the most elaborate sequences ever created. Presented in a wide shot with some unique camera angles, it is definitely a highlight that would be followed by a major climax as it reveals that diplomatic immunity or not. One must never ever fuck with Riggs and Murtaugh. Overall, Donner creates a very thrilling and compelling film about two guys going up against a group of politically-racist criminals.

Cinematographer Stephen Goldblatt does excellent work with the cinematography from the usage of lights for many of the scenes set at night to the array of interior lights for the cold offices that Rudd works at. Editor Stuart Baird does brilliant work with the editing from the fast-paced cuts of the opening chase sequence to the slower moments for its humor and suspense. Production designer J. Michael Riva, with art directors Richard Berger and Virginia L. Randolph and set decorator Marvin March, does amazing work with the set design from the look of Rudd‘s home as well as the office he has in the South African embassy.

Sound editor Robert G. Henderson does superb work with the sound from the layer of sounds of gunfire and explosions to the quieter moments involving conversations and in some of the film‘s humor. The film’s music by Michael Kamen, Eric Clapton, and David Sanborn is fantastic for its mixture of orchestral bombast courtesy of Kamen to the sound of blues and jazz from Clapton and Sanborn to play into the humor and drama while the soundtrack features a cover of Bob Dylan‘s Knockin‘ on Heaven‘s Door by Clapton, Sanborn, and Randy Crawford and songs by the Beach Boys and George Harrison.

The casting by Marion Dougherty and Gail Levin is great as it features notable small roles from Jack McGee as a carpenter fixing Murtaugh‘s home, Dean Norris and Jenette Goldstein as a couple of fellow detectives, Traci Wolfe, Damon Hines, and Ebonie Smith as Murtaugh‘s three children, and Mary Ellen Trainor in a wonderful role as the police psychiatrist Dr. Stephanie Woods who is treated with humor by Riggs. Steve Kahan is terrific as Captain Murphy who tries to make sure Riggs and Murtaugh keep themselves in check as they will be in big trouble if they interfere with Rudd who is protected by diplomatic immunity. Darlene Love is superb as Murtaugh’s wife Trish who accepts Riggs into her family as she learns about what happened to his wife. Patsy Kensit is fantastic as Rudd’s secretary Rika who secretly despises Rudd and his views as she would fall for Riggs and his antics. Derrick O’Connor is excellent as Rudd’s henchman Pieter Vorstedt who is a man that proves to be extremely devious with his own tactics as he also has some revelations for Riggs which would motivate him for vengeance.

Joss Ackland is brilliant as Arjen Rudd as this consul official for the South African government who masterminds many of the schemes for the sake of profit as he carries an air of arrogance over how’s protected by diplomatic immunity. Joe Pesci is hilarious as Leo Getz as this accountant whom Riggs and Murtaugh has to protect as he knows a lot about what Rudd is doing as he brings a lot of charm to his role as well as the fact that he is a great foil for both Riggs and Murtaugh. Finally, there’s Mel Gibson and Danny Glover in remarkable performances in their respective roles as Martin Riggs and Roger Murtaugh. Gibson maintains the very crazy and funny approach to his character while also revealing elements of how sensitive he is. Glover continues in playing the straight man as well as bring very funny as he and Gibson continue to have this electric chemistry.

Lethal Weapon 2 is a marvelous film from Richard Donner that features great performances from Mel Gibson, Danny Glover, and Joe Pesci. The film isn’t just a sequel that manages to just as good as its predecessor as well as be very entertaining. Even as it play into the world where two guys trying to beat up the bad guys in some of the most explosive moments in the film. In the end, Lethal Weapon 2 is phenomenal film from Richard Donner.

Richard Donner Films: (X-15) - (Salt and Pepper) - (Twinky) - (The Omen) - (Superman) - (Inside Moves) - (The Toy) - (The Goonies) - (Ladyhawke) - Lethal Weapon - (Scrooged) - (Radio Flyer) - Lethal Weapon 3 - (Maverick) - (Assassins) - (Conspiracy Theory) - Lethal Weapon 4 - (Timeline) - (16 Blocks) - (Superman II: The Richard Donner Cut)

© thevoid99 2014

The Sicilian

Based on the novel by Mario Puzo, The Sicilian is the story of a notorious bandit named Salvatore Giuliano who tried to liberate Sicily from Italy in the late 1940s as he would also defy the Mafia and other forces who would have him killed. Directed by Michael Cimino and screenplay by Steve Shagan with contributions from Gore Vidal, the film is an unconventional bio-pic that plays into the rise and fall of Giuliano as he is played by Christopher Lambert. Also starring John Turturro, Joss Ackland, Barbara Sukowa, Richard Bauer, Ray McNally, and Terence Stamp. The Sicilian is a rich yet gripping film from Michael Cimino.

The film is about the life of Salvatore Giuliano who was considered to be modern-day Robin Hood for the people of Sicily in the 1950s who defied the rich, the Mafia, and others in power. In the course of his journey from being this simple bandit to being the ultimate enemy for Italy, there is this story of a man who had survived death and tragedies but would eventually become his worst enemy as he thinks he is a savior to the people of Sicily. Instead, he ends up angering those with power including a Mafia leader in Don Masino (Joss Ackland), who wants to become an ally, as it would lead to his death in 1950. Yet, Giuliano’s death wouldn’t just happen because of himself but also in how the world works where Giuliano thinks that the people of Sicily wants land but things become more complicated as the people eventually lose faith in him.

The film’s screenplay that is largely re-written by Gore Vidal plays into that world of a man falling for his own myth yet it begins and ends with Giuliano’s mentor in Professor Hector Adonis (Richard Bauer) who would meet the man that killed Giuliano. The first act is about Giuliano’s rise and how he believes he is immortal as he is joined by his cousin Gaspare “Aspanu” Pisciotta (John Turturro) in stealing bread for the poor. Giuliano’s action in being a bandit forces him to realize he has to do more for the people in Sicily as he would take on the Mafia, the rich, and the corrupt world of politics and religion. Giuliano’s actions would get Don Masino’s attention as he wants to meet him through Adonis but Guiliano would often refuse in an act of defiance. The film’s second act is about Giuliano becoming this mythic figure as he would gain some allies as well as detractors in Italian minister Trezza (Ray McNally) as well as the intrigue of Sicily’s Prince Borsa (Terence Stamp) whose wife Camilla, Duchess of Cortone (Barbara Sukowa) would be seduced by Giuliano.

One aspect of the script that is unique is Vidal’s dialogue which is very stylized and direct where it does play into some of the film’s campy tone in some respects though it’s not overly camp. One aspect of the script that doesn’t work involves some of the character development where much of the women characters like Camilla and Giuliano’s girlfriend Giovanna (Giulia Boschi) are underwritten while some of Giuliano’s motivations definitely become one-note as his development isn’t as smooth or as intricately-written as it could’ve been. Fortunately, characters like Adonis, Pisciotta, and Don Masino manage to be fleshed out more as Don Masino is an unconventional antagonist since he admires Giuliano’s determination while wanting to ensure that he doesn’t get harmed where there is this very strange father-son relationship between the two. Yet, it’s a relationship that Giuliano doesn’t want and it would eventually regret it once it becomes clear that Giuliano doesn’t have the power he once had as politicians and religious organizers come together to stop him.

Michael Cimino’s direction is very sprawling in the way he presents the film as an epic of sorts set in Sicily. Shooting on location in the island, much of Cimino’s approach is to go for something that plays to not just his love for epics with his use of the wide shots and shooting on vast locations with a lot of coverage. Some of it is a homage to some of the Italian epics in terms of the compositions and settings that Cimino wanted to create. There’s also some unique close-ups and medium shots that Cimino would use to play into the drama and suspense as some of the violence is quite brutal including some very terrifying execution scenes where Giuliano kills those who betray him. There is a fluidity to not just the tracking shots and hand-held camera shots that Cimino creates throughout the film but also in how it plays into some of these scenes where it is about the situations and the characters involved.

The element of camp isn’t told in a comical manner but rather in a style that is a bit over-the-top in terms of the delivery of some of the film’s dialogue along with a few scenes where there’s some dancing. It’s one of the few aspects of the film that doesn’t work where Cimino wanted to inject something more light-hearted in a film that is often quite grim and operatic. Notably as the tone of the film gets much darker in the third act when Giuliano is tasked to stop Communist party members from voting where his intention was to scare them. Instead, something tragic happens where it plays into Giuliano’s fall as well as the reality of what he’s facing as it becomes clear over who is really in charge and how out of touch he has become with the people he wants to help. All of which would lead to the inevitable as its aftermath would only play into Giuliano’s legend. Overall, Cimino crafts a very engaging and mesmerizing film about a bandit’s rise and fall.

Cinematographer Alex Thomson does brilliant work with the film‘s cinematography from the gorgeous yet naturalistic look of the locations around the Sicilian mountains as well as some stylish usage of lights for some of the nighttime interior/exterior scenes including some of the shots in Palermo. Editor Francoise Bonnot does excellent work with the editing in creating some unique rhythmic cuts to play into its action and suspense as well as some of the drama. Production designer Wolf Kroeger and art director Stefano Maria Ortolani do amazing work with the set pieces from the lavish home of Prince Borsa to the many places in Palermo where many of the characters go to.

Costume designer Wayne A. Finkelman does terrific work with the costumes with most of the rugged look of Giuliano and his men to the more lavish dresses that Camilla wears. Sound editor Fred J. Brown does superb work with the sound from the gunfire sounds from afar as well as some of the chaos that goes on with crowds and also in some of gunfights that occur. The film’s music by David Mansfield is fantastic for its orchestral-driven score that is operatic at times but also somber with some themes that play into Giuliano and Giovanna’s relationship while the soundtrack includes a lot of music of the late 1940s.

The casting by Deborah Brown is great as the cast features some notable small performances from Ramon Bieri as the town mayor Quintana, Andreas Katsulas and Derrick Branche as a couple of Giuliano’s men who were former mob enforcers, Joe Regalbuto as a priest who warns Giuliano of what he is doing, Michael Wincott as an army corporal who joins Giuliano, Barry Miller as a professor who arrogantly defies Don Masino, Stanko Molnar as Giovanna’s Communist brother, Trevor Ray as a barber Giuliano knew as a boy, Justin Clark as a young boy who would become part of Giuliano’s band of brothers, and Ray McNally as a scheming minister who tries to stop Giuliano only to push buttons and eventually take some drastic matters into his own hands. Giulia Boschi is pretty good as Giuliano’s girlfriend Giovanna who tries to cope with his actions while having her own views about the way things work.

Barbara Sukowa is terrific as the Duchess Camilla who is wowed by Giuliano’s determination as she becomes a supporter of sorts for his cause. Richard Bauer is excellent as Giuliano’s mentor Professor Hector Adonis as someone who tries to guide Giuliano into taking a path while dealing with Don Masino as they both realize how crazed Giuliano has become. Terence Stamp is wonderful in a small yet noteworthy role as Prince Borsa as this rich figure in Sicily who often sees everything from afar while getting to know Giuliano where the two strike a deal of their own. Joss Ackland is brilliant as Don Masino as this revered and intimidating Mafia head who has a strange admiration for Giuliano as he tries to protect him from the rich and powerful in Italy only to realize how troubled he’s become. John Turturro is fantastic as Aspanu who is very loyal to his cousin Giuliano while doing all sorts of things only to realize how crazy it’s becoming.

Finally, there’s Christopher Lambert in a superb performance as Salvatore Giuliano as this bandit who wants to rebel against the rich and powerful in Italy to help the people of Sicily only to lose sight of his original intentions. Though it’s a performance that is flawed as Lambert would often be seen as stone-faced for much of the film, he does manage to convey some charisma and determination into the character.

The Sicilian is an excellent film from Michael Cimino. Thanks to a great cast and some amazing visuals, the film is one of Cimino’s finer films though it is quite flawed. Yet, it is a film that captures a world that is quite fascinating in a time period where old Italy is to meet a new world. Especially one that is much more violent and unforgiving as it is shown through Cimino’s eyes in its uncut 146-minute version. In the end, The Sicilian is a superb film from Michael Cimino.

Michael Cimino Films: Thunderbolt and Lightfoot - The Deer Hunter - Heaven’s Gate - Year of the Dragon - Desperate Hours (1990 film) - The Sunchaser - To Each His Own Cinema-No Translation Needed - The Auteurs #35: Michael Cimino

© thevoid99 2014

K-19: The Widowmaker

Directed by Kathryn Bigelow and screenplay by Christopher Kyle from a story by Louis Nowra, K-19: The Widowmaker is the story of a Soviet nuclear submarine crew dealing with reactor leak in the sub as a captain and officer try to deal with the situation and each other. Based on a real-life incident set in 1961 during the Cold War, the film is an exploration into the inner-politics between two officers and how they try to defuse an incident that would nearly spark World War III. Starring Harrison Ford, Liam Neeson, and Peter Sarsgaard. K-19: The Widowmaker is an engaging film from Kathryn Bigelow.

The film is a simple story about a Soviet submarine crew in 1961 during the Cold War as it revolves around a new nuclear submarine where its crew and captain are under the command of a new captain who is trying to fulfill the duties of the state as he puts himself and crew at great risk during a test run. When its nuclear reactor starts to leak and radiation emerging into the submarine, two captains begin to figure out what to do as tension emerges between the two captains as well as its crew. It’s not just a film about the submarine crew trying to defuse a situation that spark World War III but also the idea of duty as Captain Alexei Vostrikov (Harrison Ford) and Captain Mikhail “Misha” Polenin (Liam Neeson) try to find a balance over who they should be loyal to.

Christopher Kyle’s screenplay, with additional work from Tom Stoppard, does have a traditional structure as well as a study into the personalities of the two captains. Polenin treats his crew as if they’re his children and always help them in whatever as he will make sure they get the job done. Vostrikov is a more by-the-books individual who uses his rank to maintain control as he holds drills to see if the crew meets his expectations. This would add tension between Vostrikov and his crew who are loyal to Polenin as things get more complicated when the original doctor is killed as he’s replaced by a base doctor who knows nothing about radiation sickness. Another troubling circumstance is the addition of a new nuclear reactor officer in Lt. Vadim Radtchenko (Peter Sarsgaard) who had just graduated from the academy.

The mission was supposed to be a test run which was successful but Vostrikov’s ideas to test the submarine would have some serious repercussions when the radiator leaks. This would cause Vostrikov to be lost as two of Polenin’s officers plot a mutiny in order to get Polenin in control which would add to the drama of the film. Yet, it would create some major complications as it’s clear that Polenin isn’t just the film’s conscience but also a man who knows the importance of duty no how much he disagrees with Vostrikov. Especially since Vostrikov is under a lot of pressure from his superiors to deliver as he was given little time to get the ship ready as he tries to gain the trust of his crew.

Kathryn Bigelow’s direction doesn’t really do anything new as far as what’s been expected in a film set mostly in a submarine. Yet, she does manage to infuse a lot of style into the claustrophobic setting of the submarine which is still very engaging as it’s often cramped and there’s a lot that goes on. Bigelow’s use of tracking shots, hand-held cameras, and steadicams to capture the movements of a submarine as well as the sense of chaos showcase the pressure that isn’t just mounting on Captain Vostrikov but also his entire crew. Even as there’s a nuclear reactor in that submarine as it’s the most fragile thing on the submarine where Bigelow reveals how it would leak through some visual effects as it’s one of the few sequences that requires visual effects along with some scenes in the submarine. A lot of these moments not only showcase the submarine as a character in the film but a very fragile character that is being pushed too the limits as it serves a symbol of world that is in the cusp of complete terror.

Bigelow also knows when to give the suspense and drama a bit of a break for a scene where the crew play football outside of the sub and on an ice block along with a scene where the sub is stopped as they’re seen by an American helicopter where the crew moons it. The film also includes an epilogue which not only plays into the fall of communism but also what the two captains and its surviving crew have lost as they ponder the sacrifice of those who saved them. Overall, Bigelow crafts a very compelling film about two captains dealing with the idea of duty during the Cold War.

Cinematographer Jeff Cronenweth does excellent work with the film‘s cinematography from the use of lights in the submarine as well as the blue lights inside the reactor room along with some naturalistic shots of some exterior scenes in the day and night. Editor Walter Murch does fantastic work with the editing with its use of rhythmic cuts to play into some of the action as well as some jump-cuts and some slow-motion moments to play into the drama. Production designers Karl Juliusson and Michael Novotny do amazing work with the look of the submarine and its many compartments as well as its port and some of the base buildings where the superiors are at work.

Costume designer Marit Allen does nice work with the look of the uniforms the crew wears to play into the sense of importance as well as who they are as they‘re loyal to each other. Visual effects supervisors Bruce Jones and John Nelson do terrific work with some of the visual effects such as the submarine under the sea as well as the scene where it breaks into the ice. Sound designer Pat Jackson and co-sound editor Larry Schalit do superb work with sound to play into the atmosphere of the submarine as well as its sirens and such inside the sub. The film’s music by Klaus Badelt is wonderful for its Russian-based orchestral score filled with vocal choirs and heavy string arrangements along with some pieces of traditional Russian folk music and the Soviet anthem that is played in the film.

The casting by Ross Clydesdale, Mali Finn, and Mary Selway is brilliant for the ensemble that is created as it features some notable small performances from Joss Ackland as the defense minister Marshal Zolentov, John Shrapnel as Admiral Bratyeev, Christian Camargo as the senior reactor technician Loktev, and Donald Sumpter as the submarine’s new medical officer Gennadi Savran who has no clue what he’s dealing with as he was a last-minute replacement. Steve Nicolson and Ravil Isyanov are terrific in their respective roles as torpedo officer Yuri Demichev and political officer Igor Suslov as they would be the one to plot the mutiny against Vostrikov. Peter Sarsgaard is excellent as the reactor officer Lt. Vadim Radtchenko who comes in at the last minute unaware of the situation he’s facing as he deals with his inexperience and inability to help his crew.

Liam Neeson is amazing as Captain Mishna Polenin as he is the film’s conscience as a man who is beloved by his crew as he deals with Vostrikov and the chaos of the submarine. Finally, there’s Harrison Ford in a superb performance as Captain Alexei Vostrikov as a man who has to ensure the success of his mission at great risk as he becomes torn between his duty to his superiors and doing what is right for himself and his crew.

K-19: The Widowmaker is an excellent film from Kathryn Bigelow that features top-notch performances from Harrison Ford and Liam Neeson. While it may not have a lot of originality, it is still a captivating film about a submarine crew and its two captains trying to prevent World War III from happening as well as delving into the theme of duty. In the end, K-19: The Widowmaker is a superb film from Kathryn Bigelow.

Kathryn Bigelow Films: The Loveless - Near Dark - Blue Steel - Point Break - Strange Days - The Weight of Water - The Hurt Locker - Zero Dark Thirty - The Auteurs #29: Kathryn Bigelow

© thevoid99 2014

A Kid in King Arthur's Court

Based on the Mark Twain novel A Connecticut Yankee in King Arthur’s Court, A Kid in King Arthur’s Court is a modern take on Twain’s novel as a young boy who goes back in time to the world of King Arthur as he helps the legendary king retain his power. Directed by Michael Gottlieb and screenplay by Michael Part and Robert L. Levy, the film is essentially a family film that brings a lot of childish humor to this take on Twain’s story. Starring Thomas Ian Nicholas, Art Malik, Paloma Baeza, Ron Moody, Kate Winslet, Daniel Craig, and Joss Ackland as King Arthur. A Kid in King Arthur’s Court is an uninspired and extremely silly family film that just tries too hard to be entertaining.

With King Arthur’s court in danger by unrest, Merlin (Ron Moody) via a magical water creates a spell to find a savior. What he gets is 20th Century young teenage kid named Calvin Fuller (Thomas Ian Nicholas) to arrive in the 6th Century where he stopped a mysterious black knight. After being captured by Arthur’s guards, Calvin meets King Arthur as he also meets Arthur’s longtime advisor Lord Belasco (Art Malik) who believes Calvin is a dark force sent to stop Arthur. Instead, the king is charmed by the boy as he takes him as he’s to be trained as a knight as Calvin meets Arthur’s youngest daughter Katey (Paloma Baeza) who is intrigued by him.

Under the tutelage of Master Kane (Daniel Craig), Calvin learns to be a knight which was difficult as Katey helps out as she wants to know more about where he’s from and what is it like in the future. Meanwhile, Calvin goes to a blacksmith (Barry Stanton) to help invent earlier versions of the modern objects he has while finding himself being threatened by Belasco. With Arthur becoming more attached to Calvin, Belasco plans to take over and hopes to get Arthur’s eldest daughter Sarah (Kate Winslet) as his bride. By staging a kidnap on Katey and claiming that she’s been killed by Calvin, Belasco hopes to make Arthur stop Calvin. Instead, Arthur and Calvin go on a journey to rescue Katey as Arthur realizes what has happened as they get some unexpected help for an upcoming tournament.

The film is essentially a modern take A Connecticut Yankee in King Arthur’s Court with some changes to be suited for a modern audience in hopes for some light-hearted family entertainment. Well, it seems like a nice idea on paper but the final results that director Michael Gottlieb and his screenwriters create is truly lazy and messy. While there are very few moments where it does allow the film to become a total disaster such as Arthur’s reflective conversation about his own failures plus some development for himself and Calvin. There’s not enough of those moments to keep the film interesting as it plays by the rules too much in order to entertain the audience.

Michael Gottlieb’s direction is typical of medieval times films that is mixed in with modern pop culture references. Yet, there’s nothing in Gottlieb’s direction that stands out nor is there anything that is remotely interesting. It’s all done in the mechanics of a typical adventure film made for families. Throughout the film, there has to be moments of humor that is prevalent throughout the film but it doesn’t seem to work. A lot of the pop culture references and objects that Calvin brings such as the CD walkman, rollerblades, and bubblegum where many of these references, as of 2011, seems to be very dated. At the same time, the modern-day dialogue told in this period seems to spoken very awkwardly by many of the characters.

The film’s script has some issues where one of the key elements of the film revolves around the mystery of the black knight. Though it’s revealed towards the end, it doesn’t make sense as the character who is revealed to be the black knight is in one location while the knight is at another location. It becomes very confusing and leaves a huge hole in the film’s plot. While it’s not a film meant to be taken seriously and be seen as light-entertainment, it really doesn’t do anything at all. Plus, there’s not a lot of technical aspects of the film that is noteworthy nor does the score of J.A.C. Redford that is just a re-hash of a lot of scores of these type of films. Overall, Gottlieb creates what is definitely a dull and un-exciting film.

The cast for the film is really more of who is in this film as there isn’t a lot to be wowed about. Ron Moody just appears in a haggard look as Merlin that is hampered by the weakness of the script while Art Malik just plays a very one-dimensional villain that is just very angry about Calvin and tries to charm Kate Winslet in the most pathetic manner. Speaking of Kate Winslet, she delivers an OK performance though due to the bad script. She’s not really given much to do but be very dramatic or to try and be funny where it doesn’t really work while she looks quite thin. Kate Winslet is not meant to be thin! She’s fucking Kate Winslet!! There’s also Daniel Craig in the role of Master Kane as he too, tries to give something that is a performance but ends up looking quite ridiculous with that awful pageboy haircut that he’s given. James Bond in a pageboy haircut?

Paloma Baeza is pretty unremarkable as the love interest as she just tries to be charming, funny, and be kidnapped while Joss Ackland is just embarrassing for the way he makes King Arthur to be all adventurous as the funny lines he’s given aren’t very good at all. Yet, Ackland is also forced to be very mopey though he does not make himself go over-the-top in that approach to the performance. Thomas Ian Nicholas is a very good actor but this is pretty much terrible as it’s just an awful rehash of the character he played in Daniel Stern’s much-beloved 1994 film Rookie of the Year. The only difference was that the character he played in that film was engaging and was someone kids could relate to. In this film, there isn’t any of that other than to be silly and to try and look cool while it’s also clear that Nicholas’ voice at the time had just hit puberty which made the performance seem very awkward.

A Kid in King Arthur’s Court is a forgettable and silly film that takes itself way too seriously while providing very little for people to be entertained by. It’s not the worst kind of film out there for families to see but it’s certainly a film that isn’t very memorable. For fans of Kate Winslet and Daniel Craig, as those two would go on to have greater careers, it’s nothing more than a chance to see what they were doing before they became mega-famous. In the end, A Kid in King Arthur’s Court is a very silly film that is just very ridiculous as the best way to spend 90 or more minutes is to watch the much-beloved Monty Python and the Holy Grail. Spam, spam, spam, spam…

© thevoid99 2011