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Reviews
Syphon Filter 2 (2000)
Please, someone let these people make a movie!
The original Syphon Filter was an undeniably flawed bit of fine gaming. Put somewhat in the shadows by the mighty Metal Gear Solid, it struggled to find the attention it deserved. It was a game that rewarded perseverence with a combination of realistic violence, dense plot and challenging gameplay. SF2 takes all that was good in SF and runs with it, creating a monster of a good game. Quite daring for a sequel, SF2 takes place only a few hours from the end of the first game, making numerous references back to events from the last few days. This does somewhat alienate new gamers, but the rewards from playing the two games back to back just can't be denied.
When I first completed SF2 after a few days playing, I was almost tempted to think it was too easy. But remembering the zillions of times I'd been swiss cheesed for not thinking something through enough I realised that it was a tough game, but one so well plotted that it's almost impossible to put down until you've worked the story through to it's conclusion. What stands out are the little details that have somehow been crammed into the game. Soldiers who would be drones in most action games (Tomb Raider anyone?) are given character by simple dialogue. As you sneak around, nearly all of them are chatting away, complaining about the cold, making radio reports, even joking with each other. It's a simple touch that goes a long way to enhancing the atmosphere of the game, lending what at heart is a guns blazing gung ho actioner the feel of a well plotted adventure game. Of course the action is paramount, and fans of the sneak-em-up genre will not be disappointed as you blast a blazing trail across Colorado, Russia and New York in some of the most heart pounding shoot outs yet seen on the Playstation. All in all, this is an unmissable stretch of the old Playstations capabilities, from a programming studio that clearly has a movie in them somewhere.
Cube (1997)
Cinema without the clutter
A beautiful exercise in cinematic restraints, both unavoidable (The film has a surprisingly low budget) and deliberate (The director famously chose to shoot using only one set). Cube is wonderfully refreshing for both sci-fi and cinema fans alike. Like 'The Blair Witch Project', much of the pleasure of 'Cube' derives from it's undeniable originality, meaning it can be appreciated whether or not you enjoy the film on a personal level.
The simplisity of the film is hard to comprehend without actually viewing it. There is one set (Perhaps the films strongest character, seen as the 'villain'), a tiny cast of characters who each have a very specific role to play within the plot structure, and a wafer thin storyline (Six people wake up in a giant maze and attempt to escape, and that's it). There is no true explanation of the Cubes purpose, various theories are suggested by the prisoners, but each is fundamentally flawed. It simply exists to give us an hour and a half of nerve tingling drama, as we quickly realise that the details don't matter, it is simply a study of a group of people in peril and the friction and comradeship that develops therein.
Despite the aforementioned budgetry constraints, the movie contains some amazing visuals, notably the spinning wire trap that the policeman nearly gets caught in, and of course, the jaw dropping opening, where we are introduced to the cube as an unnamed prisoner gets suddenly and spectacularly 'cubed'.
Like the rooms of the cube itself, this is a sparsely decorated, sometimes frightening, but always ingeniously designed piece of science-fiction cinema. Unforgettable.
The Warriors (1979)
Fairy tale in New York (You scumbag)
Originally, this movie was to be set in an 'Escape From New York' style hellish urban future, which would have explained the rather bizarre, circus like quality to the cities gangs. Director Walter Hill wisely chose not include this detail, leaving us with a much more interesting, less hackneyed movie. 'The Warriors' is best viewed as an urban set fantasy, a fairy tale about finding the way home through a hostile wilderness full of strange and deadly dangers. This makes it a more striking, immeidiate film, leaving the viewer unconcerned with technical details about real gangs or the real New York and able to concentrate fully on the the plight of the characters and the movies cutting social commentary. The film has 'cult' written all over it, with it's campy (But beautifully designed) costumes, wild seventies hairdos (Just count those afros!) and surprisingly, almost shockingly violent action sequences. Characters are simple but effective, the brooding Swan and hot headed Ajax standing out, and there is perhaps the simplest, but most believable explaination for a street villains motive; "'Why'd you do it?''Because I just like doin' things like that.'". There is excellent location work, numerous subway stations providing a literal and metaphorical 'underground' through which the Warriors move, while the bleak, off season depression of a run down Coney Island at the films climax is almost heart breaking in it's effectiveness. Add to that a tense atmosphere, witty dialogue, funky seventies rock and a character who looks just like Ed from the Chemical Brothers and you've got an exciting, well crafted urban fantasy.
The World Is Not Enough (1999)
Great in parts, but hollow as a whole
After seeing this film and pondering over it for a few weeks, I can't help but think that it could have been so much more. TWINE is a bond film constucted of superb parts but lacking as a whole. Robert Caryle as the baddie had his many fans across UK and the rest of the world salivating at the prospect of that most talented of young British actors turning his hand towards Bond villany. Especially once the extremely imaginative and potentially thrilling character details became known. But where was he in this film? Yes he had all the glorious menacing presance we had hoped for, but he hardly appeared in the film, the role of head bad 'guy' being given to the entirely unconvincing and unimmpressive Sophie Marcau. Denise Richards made a suitably beautiful Bond girl, but her role in the film was unclear. After the escape from the missile silo, she had no reason to tag along with Bond, in fact her presence was absurd as 007 is supposed to be a top secret agent. And OK, the romance in Bond films is rarely convincing, but this one just seemed to spring from nowhere, just to have the out of place Roger Moore style ending. The action sequences were uninspiring, with the obvious exception of the blistering pre-credits scenes. Bonds car seemed to be made of wood and the climatic battle was hardly on the scale of the best Bond films, not even that of recent Bond films. The locations used were also rather dull and uninteresting, again with the exception of the Greenwich scenes. We've seen the world through Bond films a thousand times, and I think it's about time we brought him home and saw some more scenes in good old Blighty for a change. And I DON'T mean that ridiculous picture postcard Scotland that belongs in a crass Hollywood production rather than British venture such as Bond. The real shame is that there were some great elements. The boat chase and Carlyle's bad guy have already been mentioned, but putting M in the field was also a very successful idea, as was the return of Robbie Coltrane. Goldie was great as the sniveling henchman and it was good to see so many black actors appearing in major roles. Finally, the sad departure of the late Desmond Llewellyn was well handled and Brosnan is still acting a great 007. Nonetheless, after all that waiting, I can't help thinking that this film could have been so much better.
Akira (1988)
Cyber-punk anime in a neon light
Akira was hot wired directly into the sizzling, 'Bladerunner', William Gibson fueled cyber-punk movement of the 1980's and was rightfully the first Japanese anime to make an impact on Western audiences. The screen burns with the glowing neon of Neo-Tokyo, where giant advertising hoardings float over huge skyscrapers and bustling street markets while motorbikes paint streaks of light across the motorways. It's easy to be carried away with Akira's sheer style, it positively drips with light and colour, most notably in the films unforgettable opening ten minutes. Akira is the true spirit of cyber-punk, anarchic, intense, dark and virtually crackling with sheer energy. The plot is too complicated for it's own good, becoming somewhat entangled in the ideas it is juggling, with a few too many sub-plots and minor dramas too keep it's focus. Furthermore, the imagery occasionally goes just a bit too intense and mind-bending, making it easy for a less commited viewer to sneer and miss the film's more interesting subtlties. However, there are some great ideas swimming around in the pool of concepts behind this film, as well as some unusually complex characters for an anime, such as the brooding army officer in charge of guarding akira, whatever that might be. Most notable though is the film's hero, Kaneda, who embodies the spirit of the film, full of berserk energy and simmering rebelion. A flawed film, but a great one at that, it looks great, it's very exciting and that first sequence just can't be faulted.
Stella Street (1997)
Only Hollywood itself could be stranger than Stella Street
"A lot of famous people live on this street." Michael Caine guides us 'Alfie' style around his ordinary but not ordinary life on Stella Street, a street in sleepy London suburb, Surbiton. Somehow a vast number of stars (and Jimmy Hill) have all ended up living on the same street, including Jack Nicholson, Al Pacino, David Bowie, Mick and Keith from the Stones and many more. Impressionist and Comic Strip regular, Phil Cornwell has teamed up with fellow impressionist and film actor, John Sessions to make the comedy impressionists dream show. Directed by accomplished comedy director, Peter Richardson and written by the two stars, 'Stella Street' is an irreverant, anarchic, surreal, well-observed and down-right hilarious comedy. The first series was shot on a particularly thin shoe string and gained a cult following after late night showings on BBC. Series two boasted many more characters, a slightly glossier look and even nearly had a plot structure. Series three will appear sometime in early 2000. Anyone who likes the slightly weirder side of British comedy will love it, only Hollywood could be stranger than Stella Street.