Movie Review: The Expendables 3

by Tony Dayoub

Anyone looking for The Expendables 3 to provide summer's final hurrah at the box office might want to look elsewhere. Where the first Expendables played like a shaggy, small-scale reprieve from career oblivion for former action stars Sylvester Stallone, Dolph Lundgren, and Jet Li, this one feels like it's lining up the burial plots. Where the second and best film in the series raised the stakes by bringing in Jean-Claude Van Damme as its villain and Chuck Norris as comic relief, The Expendables 3 overplays its hand amassing a cast of has-beens and future never-will-bes of such an unwieldy size that few get a chance at making any kind of impression.

Movie Review: Ender's Game (2013)

by Tony Dayoub

Forget the external controversies regarding homophobic statements made by author Orson Scott Card, on whose novel the new science fiction film Ender's Game is based. The movie itself is problematic for a myriad of other reasons inherent to its source material. Ender's Game advocates fascism for a major portion of its nearly 2-hour running time. What makes this somewhat disturbing is the story's approach. It plays less like your usual Joseph Campbell-type hero narrative and more like a Young Adult novel with elements of authorial projection/wish-fulfillment fantasy. With most of its military characters being children played by children, it's not unlikely that kids are its target audience. This begs the question, is this the kind of deceptively benign space saga you'd want your kids exposed to?

FIRST LOOK - Movie Review: Extraordinary Measures (2010)

by Tony Dayoub

It looks like after the typical onslaught of award-worthy films make their debut in December we can expect January to be the start of another cinematic lull in the year. Movies reserved for release in this period tend to be safe bets, and Extraordinary Measures, which launches the new CBS Films division, is just as predictable as you would guess.


Based on Geeta Anand's The Cure, the medical drama is a two-hander that follows John Crowley (Brendan Fraser) as he recruits Dr. Robert Stonehill (Harrison Ford) in an effort to develop a cure for the rare genetic disorder that afflicts Crowley's children, Pompe disease. There are some interesting plot details in the early part of the film, as Crowley leaves his lucrative job with Bristol-Meyers Squibb to co-found a biotech start-up with the idiosyncratic Stonehill. And Measures is at its most fascinating when it explores how Fraser's Crowley deals with the intricacies of the business compromises necessary to fund a search for the cure.

Fraser (The Mummy) is a surprise. Pretty solid dramatically, he deftly switches gears between concerned parent and pragmatic businessman. The most intriguin section of the film depicts the ins and outs of acquiring funding for Stonehill's research. Gambling that his start-up will survive just long enough to develop something of interest to a larger corporation, Crowley's desperation for a cure soon overcomes him as time starts running out for his children. And Fraser modulates his emotional responses effectively, avoiding any histrionics one would expect from an actor who has never quite displayed such a range in previous performances.

However when director Tom Vaughan takes Measures ouside the realm of medical procedural for too long it gets bogged down in syrupy sentimentality. Keri Russell (Felicity) is completely wasted as wife Aileen Crowley. A scene in the film's first act showing the Crowleys trying to steal a moment for physical intimacy during their kids' nurses' shift-change window displays some promise that the day to day inconveniences of caring for a loved one full time would be explored through the character of Aileen. Instead, the script relegates Russell to being a mere sounding board for Fraser, a cipher who cries on cue whenever the chips are down, and just about the kind of heroine you'd see in any old Lifetime cable movie-of-the-week.

Ford executive produces the feature, a bit of shepherding you typically see when an actor wishes to save a notable character part for himself. But if there is anything distinctive in the stereotypically kooky character of Stonehill—a doctor who, big surprise, loves to ignore others as he focuses on his research while the rock music blasts loudly out of his office—it's exorcised by his one-note performance of crankiness. Perhaps a strange one-scene cameo by Dee Wallace (E.T.: The Extra-Terrestrial) which hints at a flirtation indicates that some scenes between her and Ford were cut; as does a later scene, when a silhouette of a woman lying next to the (thus far sexually inactive) doctor distracts from the midnight phone call he receives. Ford and Wallace would have made for an interesting couple and a nice way of fleshing him out.

Extraordinary Measures ultimately falls short by residing within the limited scope of the traditional medical melodrama. The film's best moments places Fraser's character in quite the crucible, as he must weigh the practical considerations of marketing a viable treatment against the brutal odds of survival which his children face. It should have jettisoned more of the emotional baggage to explore the procedural aspects of funding medical research, fresh territory for movies of this type.

Extraordinary Measures is scheduled to open on January 22, 2010.

Movie Marketing Review: Indiana Jones and the Kingdom of the Crystal Skull

by Tony Dayoub


The Indiana Jones franchise, while loved by many, appeals to adults more than Star Wars (1977), which is a lot more kid-friendly on its face. Nineteen years since the last Indy film, all the kids that knew him have grown, and the character had dropped out of the public eye to a larger degree than Star Wars ever did. Many of them have started to share the first trilogy with their children, and George Lucas and company have helped merchandise Indiana Jones and the Kingdom of the Crystal Skull to new heights by cashing in on both the generational nostalgia, and on educating kids specifically on who this adventurous archaeologist is.


Lucas pioneered movie merchandising when Star Wars debuted. It wasn't that the market hadn't been explored before. Movie serials and TV shows aimed at children in particular had always used cheaply produced tie-ins such as decoder rings and the like to promote themselves. But Lucas was smart enough to control the rights, likenesses, and require quality of said products. He realized that the right products, produced with care, could ultimately be as profitable, if not more so, than the actual movie it was tied to. And the release of such products, timed to the release of his films, would serve to market the film, as well as maximize revenue for those involved.

To that end, this new movie has seen marketing its take some curious forms. With licensing deals that include displaying Harrison Ford's likeness on everything from Kellogg's cereal boxes to Dr. Pepper cases, perhaps the most clever was when Blockbuster and Lucasfilm sponsored Marco Andretti in this year's Indy 500 (get it?) which was run the same week as the film's opening. Not only did the car have the Indiana Jones logo prominently displayed, but Andretti wore a race suit designed to mimic the archaeologist's now famous outfit.

Here are some notable products designed to appeal to the older crowd:


Indiana Jones and the Kingdom of the Crystal Skull Soundtrack, by John Williams - If you want to relive the movie without actually going to see it again, or even if you didn't like the movie, but you love John Williams' music, one thing's hard to argue. This soundtrack is great. Not only does he revisit themes from previous movies like a revisit of the Raiders' "Ark" theme in "The Spell of the Skull", but he creates new ones like "Call of the Crystal" and "Irina's Theme". Just as Williams patterned the original trilogy's score on the old movie serials' scores that those films paid homage to, here he pays tribute to fifties movies by evoking one of that era's most prominent composers, Bernard Hermann. "Call of the Crystal" is a theme that recalls Hermann's opening theme for Alfred Hitchcock's Vertigo. And Williams combines variations of "Crystal" and "Irina's Theme" to great effect in "Jungle Chase", elevating one of the weaker chase scenes in the film. Released by Concord Music Group, look for them to release a 4-disc set containing the original trilogy's long out-of-print soundtracks, just in time for Crystal Skull's DVD release, no doubt.


The Complete Making of Indiana Jones: The Definitive Story Behind All Four Films, by J. W. Rinzler and Laurent Bouzereau - This 300 page trade paperback contains a wealth of information on the film series. With just about all the major cast and crew participating, it traces the series from its inception through its newest film. Rich with color photographs (including some spoilery ones of the latest film, so don't buy the book till you've seen it), it even covers some of the lesser known aspects of each film's production (the mine-car chase scene from Temple of Doom was actually a holdover stunt from Raiders). Rinzler is a historian at Lucasfilm, and Bouzereau is a documentarian primarily known for his making of featurettes on all of the DVDs of Steven Spielberg's films.

Products targeted specifically to kids include The Lost Journal of Indiana Jones (below, left), a book designed to acquaint kids with any adventures they may have missed, LEGO playsets capturing famous action setpieces from each film (center), and a new game by LucasArts entitled LEGO Indiana Jones: The Original Adventures (right) for Nintendo DS, Wii, XBox 360, Playstation and PC.






Here are some other products designed for appeal to kids:

Indiana Jones Action Figures, by Hasbro - Designed to lure kids who are into Hasbro's popular Star Wars line, the detailed figures might instead spark a nostalgic interest from their dads. It certainly has with this dad. Having the original Raiders figure spec references at their disposal (Hasbro bought Kenner a while back), the line should fill the void left by Kenner who failed to capitalize on Raiders' appeal to kids. The original film wasn't designed to appeal to children, but became popular with them after their dads dragged them along to see it. And fill the void they have, already producing waves of figures based on Raiders, Last Crusade and Crystal Skull, with Temple of Doom just announced. Highly poseable for maximum play, but accurate in its likenesses with collectors in mind, this product should appeal to both parents and children. If the Star Wars line is any indication (with new figures still being released annually), the Indy line may be around for a while, too.

Indiana Jones: The Ultimate Guide, by DK Publishing - Older kids might be familiar with DK's Ultimate Guide line already. They get some well known character/s from pop culture and create an encyclopedia like reference book filled with the character's history, timelines, maps, and color art. Just like Superman, the X-Men and James Bond before him, Indiana Jones has finally got one as well. While a little light on info about the newest film, it covers everything you'd want to know about Henry Jones, Jr.'s life, from his birth, through his adventures in the Young Indiana Jones TV series, through the trilogy, and even beyond into graphic novels and books. For those looking to fill the gap between The Last Crusade and Kingdom of the Crystal Skull, this book's got the goods.

Skeptical of the current popularity of an action franchise that has been absent for close to two decades, naysayers underestimated the nostalgic allure of Kingdom of the Crystal Skull. With a current worldwide gross of over $700 million, against a budget estimated at $185 million, an estimated marketing budget of $150 million, plus the cut that exhibitors take for playing the movie in their theaters, only now is the film even close to breaking even for Paramount Pictures. But the ancillary deals have already started to pay off for Paramount, Lucas, Spielberg, and anyone else contractually in for a piece of the pie.

Movie Review: Indiana Jones and the Kingdom of the Crystal Skull - The Return of Harrison Ford

by Tony Dayoub

He's back! Not Indy. We've been expecting his return for 19 years. I refer to that other guy we haven't seen for so long. Harrison Ford is back! A little grayer, and a little more wrinkle-lined, he still displays the same twinkle-in-the-eye he always has when rendering Indy, his best-loved character. I thought that twinkle died right around the time he did Air Force One. The actor most closely associated with the mega-blockbusters of recent times had been phoning in his performances ever since then. I'm not sure if it was deliberate, but anyway... whatever the case... Indy seems to have lit his spark again in Indiana Jones and the Kingdom of the Crystal Skull. And to their credit, the creative team of George Lucas and Steven Spielberg have made sure that the character has evolved even if the B-movie-like story hasn't, at least not by much.

The story: It's 1957, and the Red Scare wave of paranoia is cresting. Kidnapped by Soviets led by a psychic Stalin-ite (Cate Blanchett), Indy is forced to help them find a mysterious corpse, in Nevada's infamous Hangar 51, that may or may not be an alien. He foils them, of course, but not before giving us another great opening sequence. What does he get for his trouble? The FBI investigates him as a person of interest, calling his World War II military exploits into question. Into this comes a young greaser named Mutt (Shia LaBeouf), with news of the disappearance of a couple of mutual friends tied to the mythological crystal skulls of the title. And spearheading the race for the skulls on the side of evil, is Blanchett's Irina Spalko.

The movie has the requisite acknowledgements to past adventures, including a quite funny one to Raiders of the Lost Ark in the opening sequence, and thematic references to The Last Crusade's young-vs.-old humor in the relationship between Indy and Mutt (sorry, Temple of Doom fans, no references to the underrated redheaded-stepchild of the franchise). The same way Connery (cinema's original action star in his 007 franchise) figuratively passed the action-hero torch to Ford in the last film, Ford seems to be doing the same to The Transformers' LaBeouf in this one. But wait a second Mr. LaBeouf. I like you and all, but you are no Harrison Ford. And the movie's epilogue has a gag that confirms Spielberg and Lucas' reluctance to bestow the young actor with the crown too quickly.

Rooted in the B-movies of the fifties, the way the earlier ones were in the thirties, the film's plot is not original, but there are plenty of surprises and treats along the way. Spalko is a formidable adversary, and probably Indy's best since Raiders. Karen Allen's return as Marion, gives the film some of the heart that had been missing in the last two films. For fans of the Young Indy TV show who hoped that the series would not be brushed under the carpet, don't worry, it's not. Aside from the rather oblique references to the show in Indy's references to his exploits as an OSS spy in WWII (he had also been a spy in WWI in the TV series), there is a more direct reference to one of the episodic adventures midway through the movie. And don't ask me why, but I was impressed by the minimal supporting part that Igor Jijikine plays as Spalko's henchman, Dovchenko. Maybe it's his resemblance to Lawrence Montaigne (The Great Escape) on steroids.

Of course, it's Ford that carries the movie. And though he actually looks a little creakier when cracking the whip, he looks like he's having more fun. Indy's physical ability has always been secondary to his charm. Maybe the increasingly morose roles he has chosen in the intervening years haven't given him the same opportunity to display the roguishness he did as Indy. But Crystal Skull allows him to while still accepting that Indy is much older. He falls a little faster when punched by the Soviets. He's a little more wistful when he sees Marion for the first time. And he is much more his father's son than he used to be, going into scientific explanations about their predicament while sinking in quicksand.

You stand to be disappointed if you go into this movie expecting the second coming of Raiders, as many in the press seem to have. After all, Raiders is arguably the best film that Ford, Spielberg or Lucas have EVER done. This is just a fun little gem more akin to The Last Crusade. Catch it at a matinee, the way you were meant to.

Movie Trailer: Indiana Jones and the Kingdom of the Crystal Skull

by Tony Dayoub



Click on the picture above to be directed to the trailer.

Let me know what you think of it.

DVD Review: Blade Runner: The Final Cut - Neo-Noir Lost in Translation?

by Tony Dayoub



Blade Runner: The Five Disc Ultimate Edition was released on DVD in December 2007. Produced by Charles de Laurizika (producer of Twin Peaks - The Definitive Gold Box Edition), it is the culmination of 7 years of hard work to restore this film to Ridley Scott's definitive version.