Movie Title: Driven to Kill
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Forget that Kill Switch and Against the Dark ever happened – it’s just not worth remembering those two catastrophes when you can group together the overall string of recent victories for Steven Seagal’s DTV career that are Urban Justice, Pistol Whipped, and now “Driven to Kill”. Wait, don’t get your hopes too high – it’s not quite as good as either of the two, but is nonetheless one of the best things that Seagal’s done in the last half-decade.

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Ruslan Drachev (Seagal) is a former member of the Russian mob and current crime novelist whose daughter Lanie (Laura Mennell, “Watchmen”) is set to marry the son of his arch nemesis, the mafia kingpin Mikhail (Igor Jijikine, “Indiana Jones and the Kingdom of the Crystal Skull”). However, before the wedding can take place, his daughter is attacked and left in critical condition; Ruslan suspects Mikhail, and sets out on a trek of vengeance with the aid of Mikhail’s son and his daughter’s fiancé Stephan (Dmitry Chepovetsky, “ReGenesis”).

The pressing questions that make or break a Seagal film: 1) is the story coherent, 2) how obvious is Steven’s stunt double, and 3) how much of his voice is dubbed? I’m happy to say that in the case of all three, Seagal has improved: the story is straight-forward with virtually no subplots, Steven’s voice is not dubbed at all as far as I can tell, and his ever-consistent stand-in (Dian Hristov) is not even listed in the credits; there aren’t a lot of instances in the film where it seems to indicate that it’s someone other than Seagal doing his own work to begin with, so if he is using a stunt double, it’s not very often and it’s been covered up very well.

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Yes, Seagal is sticking to his higher standards: he seems more alert and in better physical shape, his role is fairly intriguing, and his fight scenes are generally well-choreographed and surprisingly vicious. He has seven of these – four shootouts and three hand-to-hand fights: the gunfights are largely old hat (save for the machinegun battle at the end), but when he’s using his fists (and feet – he actually kicks above his head once), Steven stabs a guy in the face with broken glass, beats a fellow literally to tears, cuts a man to ribbons in a very bloody knifefight, impales a man’s head on a spike, stabs a mercenary in the neck and forces him to bleed to death, and stabs/shoot his final opponent through the eye. This older, more sadistic Steven is loads more fun to watch than the supplier of endless “pattycake battles”, even though he uses next to no martial arts. There is some unnecessary and unwanted quick-cut editing to these fights, but the fact that it’s clearly Seagal doing his own work saves them from being any less impressive.

There are some silly editing techniques used in other parts of the movie to kill time, but the important scenes remain untainted. The supporting cast works well: Jijikine as the head villain, Robert Wisden (”Da Vinci’s Inquest”) as the two-faced husband of Ruslan’s ex, and Chepovetsky as Ruslan’s quasi-sidekick/pupil all do good jobs as immediate co-stars, while Inna Korobkina, Laura Mennell, Ingrid Torrance, and Aleks Paunovic all make up a good supporting base. The casting of actual Russians helps a lot in setting an atmosphere for the film, since there’s a lot of Russian being spoken and it all sounds authentic. Seagal does his best with his own version of a Russian accent, and while it’s nice to see him make an effort the second time around (see Half Past Dead), it’s far from passable and he drops it every now and then.

There’s some definite ego masturbation for Seagal and I wish there had been more fistfights and/or some innovation in the gun battles, but regardless of these qualms, the film is still proof that Steven Seagal is not done showing that he can be a force in the action realm. It’s not quite as no-nonsense as “Urban Justice” or as sophisticated as “Pistol Whipped”, so it just misses a four-star rating…but only just. Distancing himself from Sony has paid off for Seagal, and fans ought to take notice ASAP.

My customers keep hoping for Seagal to return to his glory days, but unfortunately the last few films have made it to where people will not even rent his stuff now. This one won’t necessarily help, but it doesn’t hurt his chances too much either.

Standard story: He is retired from being a mean guy, something bad happens to someone he cares about, the close up of his eyes becoming angry, then lots of bad guys meet their end. To be clear, this had the most gratuitous close-up of his face I have ever seen – it scared me. What bothered me the most is he seems tired. Not sure how else to word it, I don’t think his heart is in these.

The Blu quality was below average. Plenty of grain, focus issues and other tech problems. I love DTS, but this wasn’t mixed well. The fake sounds of Seagal beatings detracted from trying to watch. No special features to speak of. Can not recommend this as a Blu purchase over the DVD quality.
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]]> http://kailyn5789320.welovejc.com/2010/02/06/stream-driven-to-kill-online/feed/ 0 http://kailyn5789320.welovejc.com/2010/01/08/dr-strangelove-movie-streaming/ http://kailyn5789320.welovejc.com/2010/01/08/dr-strangelove-movie-streaming/#comments Fri, 08 Jan 2010 06:58:15 +0000 kailyn5789320 http://kailyn5789320.welovejc.com/2010/01/08/dr-strangelove-movie-streaming/ Dr. Strangelove Movie Streaming.

Movie Title: Dr. Strangelove
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…Kubrik masterminded Dr. Strangelove, loosely basing the movie upon the book “Red Alert” (the book is a completely serious Cold War nuclear war scenario, but Strangelove is a complete and total farce). “Strangelove” came out a year or two after the Cuban October missile crisis, a year after US President John Kennedy was assassinated as well as 2 other contemporaneous films, the brilliant and paranoid “The Manchurian Candidate” and the serious treatment of the same book, “Fail Safe.”

Kubrik originally set out to do a serious treatment of the book. But Kubrik found as he tried to develop the screenplay that he kept running into scenes that he ended up writing as satire. Recognizing the challenge, Kubrik enlisted the talents of one of the best comedic screenwriters in Hollywood, Terry Southern, to do the screenplay.

Casting the film was part genius and part hit-and-miss happy accident. … Somehow Slim Pickens’ name came up and Pickens accepted the role of the B-52 bomber pilot. Even more ironic yet, Slim Pickens was more conservative than Dan Blocker, but Pickens never caught on during the film’s production that Dr. Strangelove was a comedy, much less a satire and a farce unsympathetic to the official propaganda of the cold war.

In of itself, it was a comic master stroke telling Pickens play the role seriously. Pickens was apparently no great wit, so Kubrik was able to keep Pickens completely unaware that Pickens was actually playing in a comedy, not a serious war movie (one can only assume that the humor of the situation was not lost on the other cast members, including James Earl Jones who played Capt. Kong’s bombardier.. “Don’t tell Slim this is all a big joke, we have to let him think this is a real war movie.” ).

Other than Peter Sellers’ roles, George C. Scott (later in “Patton”) and Sterling Hayden delivered memorable performances. Both were obviously instructed to play their roles “over the top.” Kubrik instructed Scott to overact the role of the cigar-smoking, gut-slapping, martini-drinking & womanizing General Buck Turgidson (get it? Turgid-son?). In the scene in the war room where Turgidson exuberantly proclaims the spectacle of a B-52 bomber evading radar by hedge-hopping, Kubrik instructed George C. Scott to deliberately overact the part. Kubrik had Scott re-take the scene several times, asking Scott to make it even more over-the-top than before. On the last take of that scene, Scott practically performed it as a burlesque parody, which was of course, the final take that Kubrik actually used.

Sterling Hayden delivered a brilliant performance as the psychotic Brigadier General Jack D. Ripper, the Air Force general who unilaterally orders the nuclear strike against the USSR. The confusion of Cold War paranoia, paranoid psychosis and false sexual power in Hayden’s scenes is the blackest of black satire. Totally over the top, ludicrous and frightenlingly possible (what if one of your top military brass really went insane and over-rode all the safe-guards against nuclear war?). The insane babblings of General Ripper set the film’s direction and act as its centerpiece, delivering both Kubrik’s satire of anti-communist propaganda and the air of impossible odds for the rest of the film’s characters to overcome that they might somehow avert doomsday.

Peter Seller’s performances as the President, the British officer and Dr. Strangelove (a left-over Nazi scientist) are memorable, Sellers delivers the title role as the deranged wheelchair-bound Nazi scientist who suffers from involuntary palsied “Seig Hiels!” in his right arm. Again sex is the real underlying motive to yet another character and the opportunities for a sexually prodigious post-apocalyptic eugenic world brings the deranged Strangelove to a frenzied outburst of libidinal energy: “Mein Fuhrer! I can vwalk!” But as much as I enjoy Sellers’ roles, they seem overshadowed by the rest of the film’s characters. P>It comes probably of no surprise that the U.S. Air Force refused to assist Kubrik in shooting the movie. Having to choice, Kubrik had to resort to mocking up the B-52 flying scenes and bomber interior cabin scenes as best he could (the bomber interior was apparently such a good replica of the real thing that the FBI launched an investigation into who gave Kubrik such a detailed layout of a B-52’s flight deck). Appropriately, the exterior B-52 flying scenes hold a comic flaw if you look closely enough: In one scene, as the damaged bomber hedge-hops across the Siberian taiga (northern boreal forest), you can see that the underlying shadow of the plane is actually that of a four-engine propellor aircraft and doesn’t match the profile of the overlaid B-52 model.

Suffice it to say, when the movie came out, it was not universally received or even widely understood. It was drummed by political commentators and movie reviewers who found it to be tasteless and sophomoric. The studio was very concerned about the potential a negative backlash from its release (consider that in the same year, the Manchurian Candidate was withdrawn from theaters after Kennedy was assassinated). An internal memo described Dr. Strangelove as “a huge, sick malefic joke” and questioned the wisdom of even releasing the movie at all. After all, the movie starts off with B-52’s and tanker planes copulating during mid-flight refuelings, displays Air Force “Peace is Our Profession” billboards in the midst of a fire fight between the US Army and Air Force security, depicts two Air Force generals as complete sex-obsessed baffoons, one a psychotic and the other a braying ass, delivers a deranged Nazi scientist and finally a cowboy pilot bucking the biggest phallic bronco of his career (never mind blowing up the world).

I can think of few other films whose film makers so defied convention and created a story that really turned conventional wisdom on its head. Dr. Strangelove keeps coming at you as one outrageous scene after another, interspersed with segments of complete straight-faced dead-pan, piling them all on until the fateful end. When Pickins died in 1983, CBS news anchor Dan Rather delivered the obituary replete with the out take of Pickins riding the bomb (Perhaps DeForest Kelley topped that and made good on his threat to have “He’s dead, Jim” engraved on his tombstone….).

There are some things you just can’t live down: Being the face that gets a great closing falling scene that leads to the end of all life on Earth happens to be one of those things. Poor Slim, he’s probably suffering in a purgatory of a Liberal Methodist heaven.

In closing, I have to agree with that long-forgotten studio executive who wrote in the memo: Dr. Strangelove *IS* a huge, sick malefic joke. But it is one of the finest huge, sick malefic jokes ever created, and stands as a film masterpiece. Those who extoll the virtues of this fil

I doubt that you could imagine how much it would pain me to give a single-star rating to an edition of the film I consider to be the singular greatest contribution to the motion picture. However, the new “40th Anniversary” edition of Stanley Kubrick’s Dr. Strangelove, Or: How I Learned To Stop Worrying And Love The Bomb is, unquestionably, requiring of such a rating. Why?, you ask.

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Because about fifteen to twenty percent of the screen image has been removed!!!

If you take a look, you will see that this new “Special” edition of Dr. Strangelove is presented in anamorphic widescreen, with a 1.66:1 aspect ratio. This, as you can find from examining older editions of the film, is the first time the film has ever been presented in such a manner. The reason why (and you may cross-check this with the Internet Movie Database [IMDb] or any book on Stanley Kubrick worth its salt) is because Dr. Strangelove was NOT FILMED in 1.66:1. It was technically filmed with a varying aspect ratio (the reasons for which are still not fully explicated, as far as I’ve seen), but, in general, it was filmed in about 1.33:1.

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So, you ask, how does a film shot in 1.33:1 get presented in 1.66:1? Did someone return to the original negative and uncover material previously hidden from sight, lost on every print and VHS, Beta, laserdisc and DVD copy heretofore released?

NO!

They simply cut off the top and bottom of the screen!!!

Such things are not unprecedented. An extremely similar case is the so-called “panoramic” Gone With The Wind. The film, made in 1939 (before there was anything BUT 1.33:1, the “Academy” aspect ratio), when released in the Panavision/Technorama age of the mid-1960’s was similar chopped and changed to magically become 2.35:1. This edition was released on video and DVD a few times before, finally, it was restored to its original 1.33:1 glory.

Stanley Kubrick was absolutely notorious for his perfectionism and auteur status in the film industry, and I cannot believe that a company proposing to release a definitive “Special” edition of his greatest masterpiece would be so heartless as to unnecessarily delete a good portion of the screen.

Please avoid this new, bastardized Dr. Strangelove, Or: How I Learned To Stop Worrying And Love The Bomb. While the few new extras thereon are of interest, they can easily be seen via rental from the local video store, as suplemental to the last “Special Edition” of the DVD (which, incidentally, clearly states on the back that it is “Presented in the original aspect ratio of approximately 1.33:1″.

Thank you,

Marc-David Jacobs

P.S. For those of you interested in seeing the terrible editing job for yourselves, feel free to go out and rent the new edition and the previous edition and go to seven minutes and forty-eight seconds, which is the extreme tight shot of the B-52’s CRM-114 decoder book. As you will see, an entire line of text on the top, and about one-and-a-half on the bottom are not completely missing.

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