7/12/05 Edition
Horror Sequel
Mania!
Andy
Reviews THE CROW: WICKED PRAYER and DRACULA III
Plus:
FREAKED, MAX DUGAN RETURNS, and More From Anchor Bay!
A couple of years ago Dimension released the first of two
made-for-video sequels to “Dracula 2000,” a
competent but forgettable
Wes Craven production that set the ages-old kingpin of the undead in a
contemporary setting.
The resulting follow-up, “Dracula II: Ascension,”
was in many ways a superior film to its predecessor: packed
with action and a fun, B-movie tone, “Ascension”
followed the
adventures of Father Uffizi (Jason Scott Lee) and his sidekick, ex-med
student Luke (Jason London), as they teamed up to defeat Dracula and
try to save Luke’s beloved (Diane Neal) from eternal
damnation.
The movie, and Lee’s character, have since gained somewhat of
a cult
following, one that will undoubtedly flock to either their favorite
local haunt (or their online rental queue) to pick up the long-delayed DRACULA
III: LEGACY (**, 90 mins., 2003, R),
which finally arrives this week on DVD.
Picking up from the end of “Ascension,” here Father
Uffizi and Luke
travel into the Romanian countryside where warring revolutionaries do
battle for not only the good of the country but also the fate of
mankind. The duo run into a British TV reporter (Alexandra Wescourt)
covering the war, which only provides a superficial cover for the
nefarious dealings of Dracula (a wasted Rutger Hauer), who’s
bringing
in lambs for the slaughter from the outer villages of Romania since the
local “food supply” has been exhausted.
Patrick Lussier and Joel Soisson again co-wrote, produced and directed
this third (and possibly not final) entry in their modern
“Dracula”
series, which coasts for a while on the solid performances of Lee and
London. The duo have a surprisingly amiable chemistry together, and for
a while, the change of setting and competent, B-movie thrills make
“Legacy” the best of all three films.
Alas, the movie all but collapses during what ought to be its most
effective part: the last half-hour, in which our heroes finally meet
Dracula in a climactic showdown. In just as disappointing a performance
as his minor role in “Buffy The Vampire Slayer,”
Hauer gets almost
nothing to do as the now-aged Count, while Diane Neal is likewise
wasted in what basically amounts to a cameo reprisal of her role from
“Ascension.” What’s worse, the filmmakers
do a late turnaround with the
Uffizi character, culminating in an a borderline farce of a conclusion
that basically stabs all of the series’ fans in the back.
Without
giving it all away, let’s just say the conclusion is poorly
developed
and sure to create frustration from many genre fans.
Perhaps it’s the result of raised expectations (and two years
since
“Dracula II” was released), but “Dracula
III: Ascension” simply doesn’t
follow through on the promise afforded by its predecessor. As
direct-to-video sequels go, Lussier and Soisson’s production
is still
several notches above the norm, with fine work provided by the two
leads and superior production values, but the conclusion is such a
letdown that you simply can’t help but feel disappointment
that the
opportunity to create a mini “franchise” with its
lead characters
wasn’t completely thrown away here (and if it
wasn’t, they’re going to
have to do a heck of a lot to bury themselves out of the hole they dug
themselves in).
Dimension/Miramax’s DVD, out this week, sports a brief
alternate ending
that at least would have been preferable to the finale that was
utilized in the final cut. One deleted scene, an informative commentary
track with Lussier and Soisson, cast auditions, story treatment
excerpts from both “Legacy” and
“Ascension,” trailers, and interviews
with both Lussier and make-up Gary J. Tunnicliffe comprise a solid
assortment of special features. The 2.35 transfer is just fine (nicely
representing Doug Milsome’s cinematography), as is the 5.1
Dolby
Digital sound, sporting a score credited to Ceiri Torjussen and Kevin
Kliesch (with Marco Beltrami’s “Dracula 2000"
themes again receiving
major billing alongside the composers).
Despite the relative disappointment of “Dracula
III,” it’s nothing compared to the crass,
inexplicable awfulness of THE
CROW: WICKED PRAYER (No Stars, 99 mins., R, 2004; Dimension).
It’d be one thing if this direct-to-video (though at one
point intended
for theaters) production simply continued the downward spiral of the
“Crow” franchise since it began with the superb
1994 original from
director Alex Proyas.
But no, “The Crow: Wicked Prayer” is an
almost-unspeakable disaster
that starts off with a bizarre opening sequence announcing (literally)
the names, occupations, and motivations of its villains: a group of
satanists, including a slumming David Boreanaz -- whose
post-“Angel”
work is heading rapidly towards the gutter based on this performance --
and Tara Reid, whose career is already there.
These bad guys, intoxicated by the waste left over from a Native
American mine (soon to be turned into a casino!), want revenge on the
local townsfolk, including “white trash” Edward
Furlong and his native
“pure blood” girlfriend, Emmanuelle Chriqui. The
duo torture poor
Furlong (a former con who did time with Boreanaz) and gouge out
Chriqui’s eyes (always a nice touch), but soon Eddie -- who
actually
looks freakier out of his Crow make-up than he does in it -- is reborn
from beyond as The Crow, quipping godawful one-liners and exacting
revenge on the evil-doers. Also among the latter are Dennis Hopper, who
shows up speaking urban-rapper slang (“what’s up,
homey?”) in what has
to be one of the worst roles of his career (and that says something),
and singer Macy Gray, who seems to be reading off a cue-card like she
was on a “Saturday Night Live” sketch.
Relentlessly unpleasant, excessively violent, hilariously written and
poorly acted across the board, “The Crow: Wicked
Prayer” is an
embarrassment that nearly turns the first sequel in this series -- the
hideous “Crow: City of Angels” -- into a
misunderstood epic by
comparison. It’s easy to comprehend why Furlong and
Reid’s careers are
where they’re at based on this film, but Boreanaz is capable
of far
better and his decision to make this turkey seems incredibly
ill-advised.
Dimension’s DVD, out next week, offers deleted scenes,
storyboards, a
pair of commentary tracks, several Making Of featurettes, plus a 1.85
transfer and a 5.1 Dolby Digital soundtrack. The latter offers a
non-stop score by Jamie Christopherson that might have been more
effective in another film, and there’s also a brief
featurette with
Christopherson touring his recording confines, with a cameo appearance
provided by his wife. One wishes you could have spent 99 minutes with
the two of them instead of watching “The Crow: Wicked
Prayer” itself.
New
From Anchor Bay
Back in 1993 Twentieth Century Fox released Alex Winter and Tom
Stern’s
manic comedy “Freaked” in a grand total of two
theaters -- where it did
little business and quickly went straight to video and laserdisc.
I recall renting the laserdisc (even though it was full-screen) and
immediately loving every moment of “Freaked,”
something that says a
good deal about its appeal since I was just starting college at the
time and that “campus demographic” had to have been
what the movie was
aiming for -- provided Fox had given it half a chance to succeed.
Although
it’s taken years for the movie to materialize on DVD, the
wait has been
worth it as Anchor Bay -- thanks to their new relationship with Fox --
this week unveils a feature-packed 2-disc Special Edition of FREAKED
(***, 80 mins., PG-13)
in all its crazed glory. Chances are that most viewers have never heard
of this relatively obscure effort from Alex Winter, the former
“Bill
& Ted” star, but don’t let that stand in
the way of you checking
out this entertaining and occasionally hysterical comedy.
Winter stars as a former child star who becomes transformed into a
mutant after agreeing to become a spokesman for a banned chemical
company (good idea, of course!). Soon Winter and his fellow freaks --
including Mr. T as a bearded lady -- attempt to rise up and regain
their humanity from sideshow promoter Randy Quaid.
Filled with sight gags, hit-or-miss jokes and a memorable cameo from
Keanu Reeves, “Freaked” is every bit a crazy
comedy, and a surprisingly
effective one at that. The film reportedly cost upwards of $10-$15
million, something that can be seen in the picture’s
elaborate make-up
and visual effects, despite the fact that the final cut clocks in at
barely 80 minutes. Still, it’s possible that any more of
“Freaked”
would have overstayed its welcome, making it a perfectly
short-but-sweet “undiscovered” gem that now stands
a strong chance of
finding the audience it deserves on DVD.
And what a terrific DVD Anchor Bay has put together here: Winter and
Stern contribute a frequently hilarious commentary track, while deleted
scenes (unfortunately ripped right from the Region 2 PAL DVD)
compliment the movie’s solid 1.85 transfer (with remixed 5.1
Dolby
Digital sound to boot). Most of the extras can be found on Disc 2,
where you’ll find a “read-through”
rehearsal of the film sporting
additional scenes and dialogue that didn’t make the final cut
and
multiple featurettes sporting copious, behind-the-scenes camcorder
footage. An interview with writer Tim Burns, a “Freaked Art
Gallery,”
and the original trailer round out the extras (can’t imagine
it played
in front of too many films).
“Freaked” is an inspired goof that -- if one has to
draw a comparison
-- is at least superior to the sorts of farces that Jim Abrahams was
turning out in the early ‘90s (like
“Mafia” or “Hot Shots”). If you
like the kinds of rapid-fire gags from those films, and want to check
out one of the more underrated comedies from the decade,
don’t miss it!
Anchor Bay has also dusted off several films from the Fox vaults and --
even if they don’t include any major supplements -- has at
least given
them similarly satisfying presentations on DVD.
Chris Columbus stepped out from writing “Home
Alone” and returned to
the director’s chair with his pleasant, underrated
comedy-drama
ONLY THE LONELY (***, 1991, 105 mins., PG-13),
a film that sports one of the late John Candy’s finest
performances.
Though produced by John Hughes and set in the filmmaker’s
native
Chicago, “Only The Lonely” is Columbus’
film all the way, with Candy
starring as a Chicago cop with an overbearing mom (Maureen
O’Hara) and
an overactive best friend (Jim Belushi) who attempts to get him back
into the dating game. Into Candy’s lonely existence comes
Ally Sheedy
as a shy woman who works in a funeral home, and sparks inevitably fly
-- though O’Hara firmly stands in the way of their path to
happiness.
Candy
was seldom more appealing than he was in this film, and
O’Hara is
equally winning in a part that marked her first screen appearance in
two decades. Complimenting them is a stellar supporting cast including
Sheedy, a superb Anthony Quinn, Kevin Dunn, and Macaulay Culkin in a
cameo. “Only The Lonely” was filmed with a crew
comprised of numerous
“Home Alone” veterans, including editor Raja
Gosnell, cinematographer
Julio Macat, and production designer John Muto, and the movie has the
same similar, warm look and feel of the Hughes’ blockbuster,
but this
time with adult characters and situations you can readily identify
with.
Anchor Bay’s DVD offers a good-looking 1.85 widescreen
transfer with an
acceptable 2.0 Dolby Surround track, sporting an excellent score by
Maurice Jarre. Extras are limited to a standard promotional featurette,
the original trailer and a TV spot.
Neil Simon’s MAX
DUGAN RETURNS (***, 98 mins., 1983, PG)
likewise offered a feel-good relationship drama, with Marsha Mason as a
single mom whose long-lost father (Jason Robards) returns to get to
know his grandson (Matthew Broderick) before he passes away.
Following their successful collaboration on “The Goodbye
Girl,”
director Herbert Ross reunited with Simon for this engaging,
good-natured film, filled with excellent performances, intermittent
laughs and moving moments. Mason, Robards and Donald Sutherland (as a
cop Mason becomes involved with) comprise the solid ensemble, while
Matthew Broderick and Kiefer Sutherland acquit themselves well, each in
their screen debuts.
Anchor Bay’s DVD includes a somewhat soft but satisfying 1.85
widescreen transfer with mono sound and the theatrical trailer. David
Shire’s quiet but effective score is yet another asset to the
film.
Goofier but nearly just as much fun is on-hand in Fox’s silly
1985 comedy MOVING
VIOLATIONS (**½, 90 mins., PG-13).
This ridiculous, uneven but fun blast of ‘80s nostalgia
wasn’t just
inspired by the success of “Police Academy”: that
film’s writers, Neal
Isreal and Pat Proft, reunited for “Moving
Volations,” with Israel
himself directing, following his success on “Bachelor
Party” the
previous year.
Starring as a sarcastic wiseacre who has to attend driving school along
with a motley assortment of crazies, John Murray attempted to parlay
older brother Bill’s success into a career in features. While
it
obviously didn’t last long (this box-office underachiever was
pretty
much it for him), Murray does a decent job of imitating his brother in
“Moving Violations,” which also stars a rail-thin
Jennifer Tilly as his
love interest, Brian Backer in a virtual reprise of his “Fast
Times At
Ridgemont High” role, Fred Willard, Sally Kellerman, a young
Don
Cheadle, and even Clara Peller, best known as Wendy’s
“Where’s The
Beef?” spokeswoman.
Ralph Burns’ typically wacky score and the movie’s
mix of PG-13 sex
jokes and sight gags firmly stamp “Moving
Violations” as a product of
its era, but it’s nevertheless entertaining enough and fans
of the film
ought to love Anchor Bay’s DVD. Israel contributes an amusing
audio
commentary while the 1.85 widescreen transfer and 5.1/2.0 Dolby Digital
soundtracks are both satisfying. The theatrical trailer rounds out the
disc.
Another film that’s developed a minor cult following its
initially disastrous box-office run -- TURK
182 (**, 97 mins., 1985, PG-13)
-- has also arrived on DVD from Anchor Bay.
Bob Clark’s fairly pretentious, unbelievable fairy tale
centers on a
brash young New Yorker (Timothy Hutton) who rallies his fellow citizens
into a fervor after the city denies his injured firefighter brother
(Robert Urich) a pension. Kim Cattrall essays the idealistic social
worker assigned to Urich’s case, while Robert Culp is the
city’s
obnoxious mayor, Darren McGavin a somewhat sympathetic detective, and
Peter Boyle essays Culp’s resident thug.
Shot in scope, “Turk 182" has finally been restored to its
original
Panavision aspect ratio in Anchor Bay’s DVD. The 2.35
transfer looks
great, making Reginald Morris’ cinematography -- and the
movie itself
-- presentable for the first time on video in any format. Clark places
actors on all sides of the frame, and much like his later comedy
“Loose
Cannons,” requires the full anamorphic ratio to comprehend
what’s going
on (if you watch the full-screen TV print, the panning-and-scanning
resembles a ping-pong game).
Alas, the movie itself is pretty tough to like: Hutton’s
unappealing
performance borders on grating, while Paul Zaza’s bombastic
score
doesn’t do the movie any favors. More over, the script
(credited to
James Gregory Kingston, Denis and John Hamill) simply doesn’t
ring
true, with both the clean-cut “good guys” and the
smarmy, corrupt
politicians coming across as heavy stereotypes that feel as if they
exist in the Twilight Zone...or at least a dated ‘80s
“feel good” film.
Anchor Bay’s DVD does include a commentary with Clark and the
original
trailer to compliment its 16:9 transfer and 2.0 Dolby Digital
soundtrack.
Lastly, AB has unearthed the almost entirely-forgotten 1981 mystery
suspense-thriller EYEWITNESS
(**, 102 mins., PG),
starring William Hurt as a janitor who attempts to court his favorite
TV reporter (Sigourney Weaver) by making up information about a murder
in the building where he works.
Writer Steve Tesich and director Peter Yates tried to recapture the
magic from their winning 1979 film “Breaking Away”
with “Eyewitness,” a
very different kind of film with solid performances from Hurt, Weaver,
Christopher Plummer (as Weaver’s fiancee), James Woods,
Pamela Reed,
and Morgan Freeman in one of his earlier screen roles. Despite the
strong work turned in by the cast (playing characters who are, for a
change, actually developed), “Eyewitness” is a
plodding genre piece
with a plot that simply feels too convenient once all its cards are
laid on the table.
AB’s DVD presentation offers a somewhat grimy 1.85 transfer
(likely due
to how the movie was shot) and a commentary track with Yates and
moderator Marcus Hearn. Stanley Silverman, apparently a Broadway
orchestrator, provides a satisfying, low-key score (one of only three
Silverman is credited with), with the great conductor Charles Gerhardt
credited with its supervision.
Buena
Vista Round-Up
VINTAGE
MICKEY (65 mins., 2005 Compilation, Disney):
For those viewers not interested in Disney’s limited-edition
DVD
“Treasures” tins, “Vintage
Mickey” offers nine shorts compiling some of
the earliest appearances of Mickey Mouse, including
“Steamboat Willie”
(Mickey’s first-ever short), “Plane
Crazy,” “The Karnival Kid,”
“The
Birthday Party,” “The Castaway,”
“Mickey’s Orphans,”
“Mickey’s Revue,”
“Building A Building,” and
“Mickey’s Steam-Roller.” The full-screen
transfers and soundtracks are right on-par with the Treasures packages.
THE
BEST OF THE MICKEY MOUSE CLUB (1957-64, 113 mins.)
MICKEY
MOUSE CLUB: THE BEST OF BRITNEY, JUSTIN & CHRISTINA (88 mins.):
If you need any examples of how much has changed over time in terms of
cultural entertainment, check out Disney’s two
“Mickey Mouse Club” DVD
compilations. The original MMC sports five episodes from the heady days
of the series, including a young Annette Funicello, cartoons, Hardy
Boys mysteries, and plenty of musical performances. The more-modern
“MMC” show sports vintage footage of later-music
stars Britney Spears,
Justin Timberlake, and Christina Aguilera, who come off, if nothing
else, as polished child stars thrust into the limelight (also be on the
lookout for later “Felicity” star Keri Russell as
another member of the
cast). The difference in what happened to these Mickey Mouse Club
alumni after they left Disney tells you all you need to know about
today’s society: Annette parlayed her success into a series
of harmless
“Beach Party” films throughout the duration of the
‘60s, while Britney
and Christina have since turned into sleazy, media-soaked
“superstars”
more notable for their tabloid escapades and classless attire than any
tangible “talent.” My, how times have changed
(sigh). Disney’s DVDs
are low-cost (around $10 in post outlets) and look just fine.
DIARY
OF A MAD BLACK WOMAN (*½, 2005, 116 mins., PG-13; Lions Gate):
Tyler Perry’s absurd performance as a crazed Grandmother
named Madea
disrupts the central story line of a woman (Kimberly Elise) deserted by
her husband (Steve Harris) and seeking to rebuild her life. Based on
Perry’s own plays (and scripted for the screen by the
writer), this
BET-produced comedy-drama seems more suited to the small screen than
the multiplex, where it nevertheless drummed up a superb $50 million
plus in domestic sales. Still, you’d have to be a die-hard
fan of
Perry’s material to get much out of this effort. Lions
Gate’s DVD
includes a fine 16:9 widescreen transfer, 5.1 Dolby Digital sound,
Perry’s commentary, outtakes, two featurettes and
trailers.
NEXT TIME: CONSTANTINE Arrives on DVD! Don't
forget
to drop in
on the official Aisle Seat Message
Boards, direct
any emails to the
link
above and
we'll catch you
then. Cheers!
VISITORS
TO ANDYFILM.COM