The Desperate Hours (1990)

Reviews/Film;

New Version Of a Classic

LEAD: ”Mendacity is the great sin that’s destroying America,” says an escaped convict played by Mickey Rourke. He is being pursued by Lindsay Crouse, as an F.B.I. agent with a generic Southern accent, though the setting is Utah. It sounds like a bad, newly discovered Tennessee Williams script, but it’s not.

”Mendacity is the great sin that’s destroying America,” says an escaped convict played by Mickey Rourke. He is being pursued by Lindsay Crouse, as an F.B.I. agent with a generic Southern accent, though the setting is Utah. It sounds like a bad, newly discovered Tennessee Williams script, but it’s not. This is Michael Cimino’s updated, garbled remake of the 1955 film ”Desperate Hours,” in which Humphrey Bogart and three equally tough cohorts hold a nice middle-class family hostage.

In this new, upwardly mobile version, Mr. Rourke actually puts on a tuxedo for dinner. He seems more polite and less psychopathic than when he is playing more normal men. Mimi Rogers and Anthony Hopkins play an estranged couple who patch up their marriage through the ordeal. She looks a little too calm; he tears into lines as if he were King Lear on the heath.

What has been lost is more than Bogart’s gritty presence. The claustrophobia and the twisting false endings that allow William Wyler’s original version to hold up today has been replaced by a house with distracting, ornate furnishings, and a scene in which one of the criminals runs through a river against a pretty mountainous backdrop while ”Red River Valley” is heard on the soundtrack. This is no more sensible than it sounds.

It has been a long road down for Mr. Cimino, from ”The Deer Hunter” through ”Heaven’s Gate,” and on to ”The Sicilian.” It’s hard to imagine that what comes next could be more misguided than ”Desperate Hours.”

”Desperate Hours” is rated R (”Under 17 Requires Accompanying Parent or Adult Guardian”). It includes violence and nudity.

Desperate Hours

Directed by Michael Cimino; written by Lawrence Konner and Mark Rosenthal, and Joseph Hayes, based on the novel and Broadway play by Mr. Hayes; director of photography, Doug Milsome; supervising editor, Peter Hunt; music by David Mansfield; production designer, Victoria Paul; produced by Dino De Laurentiis and Mr. Cimino; released by MGM/UA. Running time: 105 minutes. This film is rated R.

Michael Bosworth…Mickey Rourke

Tim Cornell…Anthony Hopkins

Nora Cornell…Mimi Rogers

Chandler…Lindsay Crouse

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"Bogart in color just doesn’t seem right." (Pretty Bad)

The difference between an actor and a movie star is that a movie star brings a certain persona with them and makes it work, the downside being that they have to be extra convincing in roles that are some distance from that persona. Humphrey Bogart, for instance, has a certain harsh edge to him; when playing the hero, he’s a little cold and ruthless, although there is a core of decency in all his characters.Seeing that core so close to the surface is more than a bit disconcerting; even more unusual than seeing Bogart in color. As the movie starts, he’s a humbled director on his last chance, and as it continues, he becomes the friend and confidant of Maria Vargas (Ava Gardner). It’s really Gardner’s film, anyway, even though Bogart gets top billing. The problem is (and it’s the worst problem a movie can have), this film is boring. None of the characters are particularly interesting, and the conflict that drives the last act of the movie (and leads to the funeral that opens it) strikes me as ridiculously contrived, though that may be applying twenty-first century standards to a fifty-year old film. Still, even if you’re against premarital sex, not telling your young, sensual girlfriend about your impotence before the wedding is something of an idiot plot. Writer/director Joseph L. Mankiewicz also makes the mistake of seldom letting us see Maria except as others see her; she remains an enigma but not a particularly interesting one. Indeed, we are often told how men are enraptured by her but the why doesn’t always come through. The Hollywood/show business satire is also tame by current standards, and probably by the standards of the day, as well.What really gets me? "The Barefoot Contessa" is such a great title. Someone should remake this so that there’d be a film that lives up to that name.
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Young Guns – ** (out of 5)   (1988)

Cast: Emilio Estevez, Kiefer Sutherland, Lou Diamond Phillips, Charlie Sheen, Jack Palance

Directed By Christopher Cain

Those who think YOUNG GUNS one of the best Westerns ever made must either not have seen many or have incredibly short term memories.  I would not even claim that YOUNG GUNS is a good film at all, especially when compared to other Westerns in the last 20 years like SILVERADO, DANCES WITH WOLVES and UNFORGIVEN.  The only thing YOUNG GUNS has going for it is star power, although even that has dwindled to almost nothing nowadays when most of these once hot young actors are doing b-movies and television shows to try to make ends meet.  Trying to make a rock ‘n roll Western to appeal to the kids who probably can’t stand them would seem like a nifty idea, yet after seeing the results, I’m amazed someone thought we’d need a sequel because people clamored for more.

Most of the action takes place in New Mexico in 1878, where a group of troubles young outlaws have been gathered together by an educated British man to work, and also to learn how to read and write, and hopefully become productive citizens.  However, anothe much more powerful rancher names Lawrence G. Murphy (Palance) doesn’t take well to competition, and does everything he can to try to drive him out of the area, eventually finding it better to just kill him in cold blood.  The young pupils form themselves into the Regulators, having been deputized by the cowardly local sheriff to fight back against Murphy’s tyranny, including the infamous Billy the Kid, who thinks it better to gun the men down than arrest them for trial.

YOUNG GUNS stars the Frat pack of the Brat pack, and appears mostly like a group of guys getting together to play dress up.  Filming a group of young boys playing "cowboys and Indians" would probably deliver a plot just as elaborate, and maybe a higher level of believability.  Although the cast seems to be having a good time, they still manage to take their roles with some seriousness, although the terrible accents and dialogue they throw about (like the word "geek") make you realize the level of effort that is mostly lacking throughout most of the movie.

YOUNG GUNS was written by John Fusco, who has done some quality writing with other films like CROSSROADS and THUNDERHEART, and should get credit for much of the reason the film has even a smidge of credibility.  Some of the plotline and turns of events within the movie do manage to keep a viewer’s interest even if the level of intellectual stimulation is mostly vacant.  Other than the hunky but miscast stars, the main reason why YOUNG GUNS ultimately fails is due to some bland direction by Christopher Cain, director of such cinematic gems as THE PRINCIPAL and THE NEXT KARATE KID.  It feels like a rather lackadaisical effort, with a particularly bad finale that defies logic, reason and even a sense of style. 

YOUNG GUNS is of interest only to fans of the stars who are nostalgic to see their Eighties faves together having a grand old time yukking it up on horses.  Fans of Westerns will probably also have a good time laughing at how dumb it is, and how wussy the cast is compared to the strong presence of The Duke or Clint.  Resurrecting the Western is a noble undertaking, and later films like UNFORGIVEN and DANCES WITH WOLVES proved there was still gold to be mined from the long dormant genre.  YOUNG GUNS may have gotten to that mine first but didn’t bother bringing the pick-axes or shovels.   

Back to Qwipster’s Movie Reviews            

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Head Trauma is an example of smooth masterful direction, coupled with
logical and clever writing that turns what could've been just another
rushed indie effort, into something much more satisfying. I was very
pleasantly surprised. On the downside, the lead actor, while
satisfactory, clearly isn't a professional. At the same time, he might
be just be effective enough to keep the film afloat.

The film moves at a slow deliberate pace, and managed to keep me
engrossed the entire running time. Some of the scare moments are very
effective, and the ending, is far more logical than any of the resent
Hollywood entries to the horror genre.

Highly recommended.

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It is very slowly paced, which only degrades the storytelling because
it is a good story once you RETELL it in another medium, this slow
pacing makes the movie seem to have almost no noticeable conflict in
objectives and obstacles, it has vague character definition and you
barely get involved with the characters, acting is as bad as it can
get: When Cindel faints in a scene it seems like she just turned her
head down so the director could yell cut; in another scene, Mace yells
at some of the Ewoks, he screams at them, but the camera keeps rolling
for seconds with the ewoks standing there doing nothing, which made him
look less menacing (also badly paced).

The casting was surely to blame for the bad acting performances. With
the exception of wicket (Warwick Davis).

The only upside may be the visual effects of 1985, which were not
cheap, but not too expensive either. I checked out the DVD on my 27" TV
and my PC monitor… the transfer is so incredibly pristine, it looks
even sharper than other recent PAN&SCAN titles (and I mean recent). I’m
guessing some enhancement was done, but not any I could notice (again,
this is just a guess). The compression of the DVD is also the best I’ve
ever seen (Attack of the Clones being in first place, Jurassic Park
pan&scan being the last).

On the Other hand, the sound is strangely low, you have to turn up the
volume various times during the movie, I do not know why, but I doubt
it’s from the source.

The technical aspects of the movie are very respectable, but the pacing
and acting were completely overlooked at the time of production. The
story is good (it would make a great kid’s book), but the magic of film
editing didn’t do it’s magic here.

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"A Southern-Fried Masterpiece" (Awesome)

Allows the audience to bask in that rarity: a character-driven comedy/drama of infinite charm without pandering down to us.Bruce Beresford’s Oscar-winning adaptation of Alfred Uhry’s Pulitzer Prize-winning stage play makes for a simply delightful filmgoing experience. Jessica Tandy plays a rich Southern Jewish widow who, because of a recent auto accident and her inclining age, is forced to get around town with black chauffeur Morgan Freeman. The relationship starts out rocky — it stems from the widow’s stubbornness to admit the need for dependence on others rather than the chauffer himself — but over a twenty-five year span (from 1948 to 1973) it blossoms and deepens to the point where, when they share what is possibly their last conversation together, they needn’t say a whole lot to communicate their undiluted love of friendship for one another. In the wrong hands, the material could have easily been reduced to an unctuously maudlin mess; luckily, director Beresford manages to streamline an uncommonly mature narrative rhythm that touches upon the areas of racism, anti-Semitism, class barriers, and the innate value of trust without resorting to shameless didactic means. The period detail is evocative without going Masterpiece Theatre on us, the camerawork is mature and carefully framed without being fussy, the dialogue is occasionally piquant ("Momma, cars do not behave — they are behaved upon."), and the golden cinematography gives off an eyeful without being attention-getting. Tandy is miraculous in a multi-faceted role that requires numerous dramatic shifts (all of which she pulls off without a single hitch), and Dan Aykroyd is flat-out wonderful as her exasperated son caught between his bickering mother and his equally bickering wife. One quibble: Freeman disappoints by giving a performance of thudding obviousness; it’s functional work, but it sadly lacks any element of surprise. (His dynamic work in the otherwise-pedestrian Lean on Me earlier in the year was much more impressive.)Forget the overwrought "Born on the 4th of July", for this was the deserved Best Picture winner at the Oscars that year.
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Manhattan Cocktail (1928)

THE SCREEN; Two Talking Films. Satan’s Ruse. Wicked Manhattan.

Two thoroughly entertaining short dialogue films, one a Napoleonic sketch and the other a Clark and McCullough comedy, together with an opulent series of stage offerings, are on exhibition at the Roxy Theatre this week. The screen contributions seem all too short, which is assuredly a point in their favor. On the other hand, despite the evident artistic value of Mr. Rothafel’s features, he is just a trifle too generous in his display.

Both Otto Mattieson and Frank Reicher do splendid work in “Napoleon’s Barber,” a talking picture based on a play by Arthur Caesar. Mr. Mattieson plays Napoleon and Mr. Reicher officiates as the would-be revolutionary barber. This half-hour of Napoleon is good enough to cause one to forget the novelty of audible productions, for the story is worked out in an interesting fashion and all the players do unusually well with their lines. Incidental sounds and flash-backs of Napoleon’s thoughts serve to enhance this episode, which is alleged to have been inspired by a barber while he was shaving Mr. Caesar. The playwright thought how easy it would be for a barber to sever a jugular vein and thus make hisstory, so he went back a century and pinned it on Napoleon.

John Ford, who, among a number of pictures, produced “The Iron Horse,” outlines this little story in an able fashion, and while it is filled with fictional ideas, they are none the less pleasing. The Little Corporal is perceived having his apéritif before some of his soldiers. An orderly brings a small chest, which when opened discloses a small bottle of wine and a glass. This particular Napoleon, in a most casual manner, gulps down a glass of the revivifier and then proceeds with the business of the day, not forgetting that he must, come what may, be shaved. The audience is well aware by that time of the revolutionary nature of the barber, for that individual has been filling the air with what he would do to Napoleon if he had him in his barber’s chair.

The barber’s wife takes little stock in her husband’s threats. She tells him that he has a customer and bids him hurry, for “the revolution can wait, but not so the customers.”

While Napoleon is having his imperial chin lathered, the barber discourses upon his hatred of Napoleon. When the time comes to use the razor, Napoleon scoffs at the barber’s chatter. He tells the barber that he knows Napoleon well and when the shaving is finished and the barber is perhaps suspicious of the identity of the soldier Napoleon asks the blowhard to attend to a few rough spots on his throat. Never did a barber have a better chance, but this one wilted. In the end Napoleon tells the barber, who has annoyed him by reading some of his verse, that he can forgive a revolutionist or a bad barber, but never a bad poet.

It is a genuinely pleasing subject that is told in such a delectable fashion that the true Napoleon in the character survives. Mr. Mattieson makes a better Napoleon than many other actors have done. He is restrained and cool and his lines come forth with an agreeable naturalness. Mr. Reicner also succeeus in making the barber a real character. Little Phillipe de Lacy acts the rôle of the barber’s son quite well; there is a good deal of sympathy and charm in those scenes where this boy salutes the soldier (Napoleon) who had given him a me???.

This is another talking film that may win converts for this new type of entertainment.

Clark and McCullough’s audible comedy, “The Bath Between,” sent the audience into convulsions of laughter. It is the type of fun that may not be especially subtle, but which is sufficiently effective to make one chuckle at the dilemma of the two comic gentlemen, especially after Al, the strong-arm husband, puts in his appearance. One of the comedy team discovers himself in the unfortunate position of being locked in the bathroom while his companion is sound asleep.

??? delivers a stirring conception of Tcaikovsky’s “1812.” Mr. Rothafel’s “Tableaux Napoleon” are beautifully devised.

On the Movietone news reel are sound pictures of the Mount Etna eruption, the Lord Mayor’s procession in London and Robert Benchley’s sketch dealing with the carving of a turkey and trying to restrain both his temper and the bird.

Two Talking Films.

NAPOLEON’S BARBER, with Otto Mattieson, Natalie Golizin, Frank Reicher, Helen Ware, Phillipe de Lacey, D’Arcy Corrigan and others, based on Arthur Caesar’s play, directed by John Ford; Clark and McCullough in “The Bath Between,” directed by Benjamin Stoloff; overture, Tchaikovsky’s “1812″; Divertissements, with Patricia Bowman and others; “Tableaux Napoleon.” At the Roxy Theatre.

A devil of a saint is John Gilbert in his current pictorial adventure, “The Masks of the Devil,” an adaptation of Jacob “Wasserman’s novel, “The Masks of Erwin Reiner.” It is quite a good entertainment, but it has its shortcomings—quite a number, in fact. It holds the attention, however, whether the action is stereotyped or when it is adroitly portrayed.

Mr. Gilbert doesn’t miss a kiss. That is to say, the man he portrays doesn’t. Two women in the opening chapter of this Viennese yarn are the fortunate ones who share, unknown to each other, of course, the embraces of the more or less fervent Baron Reiner. A third and much younger specimen of femininity actually recoils from the Baron’s embraces, but in the end she succumbs.

The characters in this production, which was directed by Victor Seastrom, dangle rather than live, and yet their weird conduct is not uninteresting. To suit the people there are exotic settings and a queer meadow strewn with marguerites. Blossoms and the sunshine invariably accompany a love-lorn scene in motion pictures, and so they are not neglected here, and Mr. Seastrom elicits a little comedy from a sudden thunderstorm. Then, after having made use of the rain, he tops it off with a further outburst from Old Sol and smiles from his people.

As this story is unfurled it rather reminds one of the theme of Oscar Wilde’s novel, “The Picture of Dorian Grey.” Instead of a painting telling of the evil existence of the central character. Baron Reiner has only to look in a mirror and find that as time goes on he looks more and more like Satan. These double exposure effects are cleverly accomplished, and sometimes when Mr. Gilbert is not at his love-making he does some clever acting. The devil in Baron Reiner is sometimes depicted by Mr. Gilbert indulging in a fixed stare, one that might frighten any ordinary girl.

At first Baron Reiner is selected as a model from among many to pose for Count Palester’s church-window design of St. Michael and the devil. It is here that the producer makes the most of Mr. Gilbert’s lithe figure. Soon after several kissing bouts have been screened, the Baron, who has a mint of money, is introduced with his friend, Manfred. Then Virginia, Manfred’s fiancée, appears and the instant she looks at the Baron she is frightened, and quite naturally, for it is here that Mr. Gilbert fixes her with his unnatural stare.

The devil in the Baron is always uppermost. It is the Baron who finances Manfred to go on an oceanographic expedition that takes the younger man away for months, leaving the Baron to carry on a one-sided flirtation with Virginia. The Baron also arranges with a large bribe to have all Manfred’s letters to his fiancée sent to him, and consequently Virginia is indignant with her lover. Notwithstanding, she remains true to Manfred, but just about the time of that young man’s return she permits the Baron to embrace her, which is a triumph for the Baron’s satanic nature.

Manfred does the proper thing. He shoots the Baron, but the injured man decides to recover and take the girl from his friend. Therefore virtue loses. And nobody else could have accomplished this except Mr. Gilbert. But the producers evidently recalled that when Rudolph Valentino as the matador in “Blood and Sand” died upon the screen thousands of indignant motion picture enthusiasts wrote volumes complaining about killing their favorite.

Yesterday afternoon, when the Baron was expected to leave the romance open to Manfred and Virginia, the music synchronization suddenly failed. So during these supposedly dramatic incidents three notes were repeated several times, until the audience was stirred to laughter. The disk arrangement could not be set to work before the end of the picture, and therefore the organist officiated for the final embrace.

Eva von Berne, a German actress who flunked in English and therefore has since returned to her native heath, gives a fairly competent performance as Virginia. She is not radiantly beautiful, but she is well suited to this particular rôle. Theodore Roberts, the valiant veteran who has been ill for a long while, lends his undeniable talent to the rôle of Count Palester. Ralph Forbes impersonates Manfred. All of the players serve their respective parts quite well, but one feels that their veins are filled with sawdust rather than blood.

Satan’s Ruse.

THE MASKS OF THE DEVIL, with John Gilbert, Theodore Roberts, Eva von Berne, Frank Reicher, Ralph Forbes. Ethel Wales and Polly Ann Young, translated from Jacob Wassermann’s novel “The Masks of Erwin Reiner,” directed by Victor Seastrom; overture, Tchaikovsky’s “1812″; “Let’s Go,” a Mort Harris stage offering, with Dave Schooler, Cy Landry, Frances White, the Chester Hale Girls and others. At the Capitol Theatre.

There are some outstanding photographic feats in “Manhattan Cocktail,” the present film at the Paramount Theatre, which was directed by Dorothy Arzner, one of the very few women directors. It is, however, sad to relate, a story that cannot boast of any great degree of human psychology. It is interesting only so long as one can pardon the natures and actions of its characters. It is a synthetic Manhattan cocktail without the cherry.

Out of an impressive screen prologue of Crete and the Labrynth comes the theme of the story: back to the provinces. After what happens to the people in this film it is no wonder that they should rejoice on leaving Manhattan.

This city is introduced in an expert cinematic fashion, as if one were in an airplane, passing over the skyscrapers and seeing below the structures and the canyons on a clear day. When the modern narrative bursts forth, one has to be content with the manner in which Miss Arzner has filmed this subject.

The characters are Babs, Fred, Bob, Renov and Mrs. Renov. Bob is an impudent upstart, and it is with but small regret when one realizes that he meets his death before the final fadeout. Fred is more natural, but nevertheless a fool. Renov, the theatrical producer, has all the influence a villain so often receives in films. He is jealous of the good-looking Fred, and therefore, cunningly, it is to be presumed, arranges for Fred’s few dark days. Renov evidently hoped that the young man would be imprisoned for years, but he is outwitted.

Renov engages Fred as his secretary. His next act is to ask Fred to go to the bank and cash a check which he writes then and there. Soon after Fred presents the check one realizes that something has gone askew. The watchman, the cashier and others seem eager to get Renov over from his office, for they are sure they have caught a forger. Renov arrives and he coolly denies that he wrote the check or that he ever gave it to Fred. This gives an opportunity for one of those scenes behind the bars.

Aside from this highly distinctive episode, one is treated to the sight of a struggle between two men. One of them accidentally kicks the fire alarm, which brings up the comic doorman, who at once turns the hose on one of the fighters, who happens to be his employer, Renov.

These scenes are so ridiculous that one wonders that Miss Arzner, who demonstrates her ability in this particular feature, was willing to picture them as they were set forth in the script.

Nancy Carroll, Richard Arlen and Danny O’Shea portray the characters in this picture.

On the stage is a sparkling piece of work called “Miniatures of 1929,” devised by Boris Petroff. In it are seen the contrasting proportions of the Singer Midgets and elephants and horses.

Wicked Manhattan.

MANHATTAN COCKTAIL, with Nancy Carroll, Richard Arlen, Danny O’Shea, Paul Lukas and Lilyan Tashman, written by Ernest Vajda, directed by Dorothy Arzner; “Thanksgiving Day”; Jesse Crawfords, organists; Singer’s Midgets; “Miniatures of 1929,” staged by Boris Petroff. At the Paramount Theatre.

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Following hot on the heels of the latest wave of superhero films based on characters from Marvel’s House of Ideas, which recently has given us Blade, X-Men, and the blockbuster smash, Spider-Man, comes one of their most enduring, yet little-known outside of the comics world, Daredevil.  This one falls under the category of being a mixed bag of extremes, as when it does things well, it does them very well, and when it’s bad, it’s painfully awful. 

Ben Affleck (The Third Wheel, The Sum of All Fears) stars as Matt Murdock, who as a child accidentally ran into a batch of a radioactive substance which left him blind, but somehow enhanced all of his other senses to maximum proportions.  The death of his father (Keith, Behind Enemy Lines) leaves him an orphan, but Matt vows that no one should end up like his father, taking up a crusade to rid the streets of the evil-doers, both in the courtroom as a lawyer, and as a costumed street vigilante in New York’s Hell’s Kitchen.  Controlling the crime syndicate is Kingpin (Duncan, The Scorpion King), a man as powerful in body as he is in iron-fisted control of the city, and a man who may have been responsible for the murder of Matt’s father, and many other innocents throughout the city. 

With my feelings being torn, perhaps the easiest thing to do is to break the down, since I’m of two minds regarding the experience of the viewing.

THE GOOD

Daredevil succeeds, for the most part, because the creators aren’t just filmmakers, but actual fans of the comic book.  Scattered throughout the film are homages to the comic book’s glory days, name-dropping such famous writers as "Miller, Mack, and Bendis."  There are some visual homages to some of the more famous events in the series as well, such as the shot of Daredevil clinging to a cross, or in the confrontation between Elektra (Garner, 13 Going on 30), Murdock’s love interest, and Bullseye (Farrell, The Recruit), the assassin sent to murder Elektra’s father.  Cameo appearances by Marvel creator, Stan Lee, and the man who helped re-popularize the character in recent years, filmmaker Kevin Smith, also should entertain those who might have a passing knowledge of the comic book character. 

The direction by Mark Steven Johnson (Simon Birch, Ghost Rider) is visually quite stunning, and the aesthetic qualities of the film are almost enough to keep your attention.  I very rarely give a film credit for eye-candy, but this is a case where the special effects definitely enhanced the look and feel of the overall story to great effect.  The sweeping shots of the city, the religious symbolism, the light and dark visions in Matt Murdock’s hyper-sensitive mind, they are all stunningly rendered, and very intriguing to the overall theme of family and vengeance, like the Greek tragedies from which Elektra draws her name and inspiration.

The film also delivers on terrific action and much-needed bits of comic relief by Jon Favreau (Made, The Replacements).  When Daredevil faces any equally worthy opponent, the mood electrifies, almost like the feeling of Titans battling it out for supremacy on the world stage.  It’s very reminiscent in look and feel to the reason I enjoyed Highlander, with its rock video attitude, religious undertones, and glorious hand-to-hand combat.  It’s a testosterone-charged thrill-ride.

THE BAD

Sorry to say it, but suspension of silliness that almost needs to be employed in believing any man would dress up in a costume and fight crime, and Daredevil makes it seem sillier than most.  It’s sometimes embarrassing to see Affleck and Garner doing a combat-tango in a school playground, or Farrell as Bullseye fuming on about "never missing" a target.  Daredevil’s costume seems not only goofy, but awkwardly designed, and whenever he is shot with any amount of light, it sometimes evokes an unintentional chuckle. 

Colin Farrell’s take on Bullseye invites more of the Highlander comparison, very similar to Clancy Brown’s Kurgan, but he isn’t nearly as menacing.  He seems far too hammy, perhaps intentionally so, but makes most scenes with him uneven in tone.   Is he supposed to be funny?  Scary?  Both?  He is neither.

Also, in a film that requires a great deal of suspension of disbelief, you’ll find it strained to the breaking point on several occasions.  We understand that Daredevil has ultra-sensitive hearing, but why is he able to leap hundreds of feet at a time?  What happened to him after the death of his father?  How is he such a skilled fighter in a variety of combat techniques without any training other than a punching bag (for all we know)?  How did he design such a costume?  Why does he leave his DD calling card when dispatching the bad guy?  Why does he do absolutely nothing to make up for his one Achilles heel, his inability to deal with loud noises?  Ok, I suppose there are logical explanations of all of these things, but you won’t find them from watching the film. (Note: the Director’s Cut, which runs a half-hour longer than the theatrical release reviewed here, may address some of these issues, although I haven’t seen it as of this update).

Last but not least is Ben Affleck.  Sorry ladies, I just don’t find him conflicted enough to buy as Matt Murdock.  He is too baby-faced in that costume to be menacing, and his awful trendy hairstyle and shades when not donning the costume are laughable.  Most of the fighting isn’t done by him, either using a double or CGI, and when he does a few moves, they come off stiff. 

THE VERDICT

If you can look past the film’s major weaknesses, and that’s a very big if, DAREDEVIL will certainly be enough to entertain you in its visual aesthetics and super-charged, music-tinged action.  It’s superficial and somewhat trite, but that’s the comic book world for you.  If you are a fan, and are willing to overlook the fact that Kingpin is Black or that Bullseye and Elektra don’t wear their customary garb, Daredevil is likely going to please you the most.  To those unfamiliar, it’s all going to come down to whether you prefer glossy action pieces over a good, unique story.   But if it’s action you crave, and very good comic book action at that, Daredevil definitely delivers.

– The Director’s Cut DVD adds approximately 30 minutes of footage excised from the theatrical release, while removing some as well.  The original changes were made to shorten the running time of the film, as well as to get the theatrical release to a PG-13 rating.  The longer version is rated R, with some additional brutality and some strong language, with rapper/actor Coolio as a defendant in a case presided over by Matt Murdock and Foggy Nelson.  While this cut may be interesting and, in some ways, preferable for those that enjoy the theatrical release, viewers that didn’t like the original release will probably find it even more tedious, as it stretches the film out to over two hours in length, with little in the way of interesting new developments to merit a repeat viewing.

– A spin-off film resulted in 2005 featuring the return of Elektra in a solo adventure.

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