Frequency
A great work from 2000. John Sullivan (Jim Caviezel) digs up his deceased father Frank's (Dennis Quaid) old radio and turns it on. An Aurora Borealis is overhead. Due to the phenomenon, John gets in touch with his father in the year 1969 and is able to prevent his death. As a result, a serial killer who died after killing three victims now survives and kills 10, one of whom is Frank's wife and John's mother. The murder is set to happen a week later in the year 1969. As John uses his police skills to uncover the killer's identity in the present, Frank sets out to prevent the murder in the past.
Once again, we must start with the acting. Our two leads are great. Quaid is initially disbelieving of the identity of the man he is talking to on the radio and delivers this well. Once he does believe, he really captures the wonder of finding out what his son will become in 30 years. Quaid interacts with his adult son in much the same way he does with his son as a child, referring to both incarnations as Chief. He also expresses an appropriate amount of fear and sadness when he hears of his wife's possible fate. Jim Caviezel as the adult John also displays much talent. His desperation in trying to convince his father that he is in fact his son, his discovery of his mother's 30 year old murder for the first time, him telling his father about future events. These two performances are show stoppers. Others do well here too. Shawn Doyle is a wonderful (and creepy) villain. I will say he seems more effective in his 69 incarnation than his 99 incarnation. Perhaps it is the makeup they used, perhaps it is because the 69 version got more screen time. But that 69 version is a cold menacing monster. Elizabeth Mitchell is also very good as Julia. Her 99 incarnation gets little screen time sadly, but her 69 incarnation delivers a strong, loving and angelic character. You can understand just how much is at stake whenever she is on screen. Finally, Andre Braugher is great in both incarnations as Frank's friend and John's boss. He shines best when Frank tries to prove to him he is talking to his son in the future on the radio by describing the world series as it will happen in a matter of hours. When the events start unfolding as Frank described, Andre's eyes grow wide and he laughs to himself as he begins to believe the story. Great all around.
The premise is used creatively. A time travel movie where there is no time travel. Who would have thought of it? John telling Frank to hide something in a place where no one will find it for 30 years, Frank burning a desk and the burn appearing in the present, John keeping track of events using old news articles. It offers so many possibilities, and all the possibilities that are used, they are used well.
The special effects in this film are used sparingly. The opening scene where Frank fights a CGI fire is exciting but there are times where the effect is a bit weak. It doesn't get off to a good start in this way. But when the Aurora Borealis shows up, it becomes a character all its own. Dancing across the night sky in a brilliant show of light that watches over and guides our heroes through the entire film. It also really captures how an Aurora looks, no easy feat. Small things like desks being burned and radios being fixed are impressive. One sequence at the start of the film is eye catching. It shows the world separating, one earth being normal and the other being static in appearance. One of the most visually striking moments in the film that sets up just what is to come. The final morphing of John's house in the present is probably the film's most memorable effect, and it does work quite nicely with lamps, pictures, cabinets and couches changing from one type to another. There are many things that can be picked out in this few seconds so I won't bother. Suffice to say it is beautiful.
The music by Michael Kamen captures what this film really is about. The relationship between father and son. It is full of beauty, emotion and personifies the love, wonder and desperation of both characters. Probably the best use of music is during the exciting finale of the film.
Editing had to be skillfully done in order to capture the two talking to themselves across a 30 year gap, and it is done well. The transitions between eras are seamless, even when they grow more rapid. It is surprising just how well these scenes fit together, especially in the hiding the wallet and climax scenes.
I am not sure what to say about director Gregory Hoblit. I have not seen any of his other works. Perhaps they are good. Perhaps not. There are two theories in art. One if the great artist theory where an artist consistently puts out wonderful pieces. The other is the great work theory where a striking and memorable work is created before the artist fades into obscurity. Perhaps Hoblit is the latter. Hopefully he is just getting started. Time will tell I suppose. He sure did great here.
Frequency is a very interesting take on time travel. Only the information actually travels across the gap. But events can still be altered as a result. This moving and engrossing father and son tale is one for the ages. It certainly is one of the most fascinating What If movies.
Sorry for the double post. I just got this review done.
First Blood
One of the central films in Sylvester Stallone's very rocky career. Forgive the bad pun.
Depressed drifter and Vietnam Vet John Rambo (Stallone) is travelling cross country when he arrives in the town of Hope Washington. After being arrested for vagrancy by Sherriff Teasle (Brian Dennehy) Rambo suffers a PTSD flashback, breaks out of the police station and runs off into the nearby mountains. What follows blurs the lines between a police manhunt and an actual war.
We must start with acting as usual. Suffice to say this is one of Stallone's best films. Despite what would be done to the character in the sequels, it is one of his best roles as well as far as this film goes. Here Stallone does a good job. At the start of the film Rambo is upbeat at the prospect of seeing an old friend. After that is shot down, his demeanor changes. He becomes depressed, short tempered, and in some places becomes a walking nightmare. He plays desperation, sadness, rage, all rolled into one ticking time bomb of a character. Brian Dennehy offers a loathsome but still sympathetic villain. One of the subtexts of the film is his Korean War experiences, which he feels were overshadowed by Vietnam. This explains his often unreasonable reactions to Rambo. As the film goes on, he becomes more sympathetic but also more obsessed with catching his white whale. During the final scenes, one finds themselves hoping for Teasle to survive this ordeal. Finally Richard Crenna as Colonel Trautman. His character goes through an interesting ark revealed only by his dialogue and mannerisms. At first he is cocky, almost bragging as to how good a solider he made Rambo. But as time wears on, he discovers at what cost his training came and slowly evolves into a father figure that Rambo desperately needs. The best acting in the film comes from Stallone and Crenna during the final showdown in the police station. So remember folks, Stallone does have talent, he just needs to know where to use it. Be sure to keep an eye out for Bill McKinney (the rapist mountain man) as Kern, a police officer who shows Rambo sympathy.
The action in this film is low key, taking a back seat to the character study of Rambo. There are impressive set pieces such as the motorcycle chase, the chopper chase, the high jacking of the truck, and the final destruction of the town. These thrilling and suspenseful scenes and done as realistically as they can be done, the motorcycle chase including an actual car crash. It is during these sequences where Rambo's dilemma becomes clear. Is this a war or isn't it? Each of these scenes is right out of a classic war film. But by far the best "action" scene in the film is when Rambo stalks and disables Teasle's deputies one by one Guerilla style, using camouflage, Punji Sticks, his knife, etc. A not so much thrilling scene but a nightmarish one. It is no wonder Stallone refers to Rambo as a modern Frankenstein monster in this film. It is a fair comparison.
The music is some of Jerry Goldsmith's finest work of his entire career. The low six note motif repeated throughout the film really captures the suspense Rambo feels as he stalks the mountains avoiding cops. A highlight of the film is when Rambo high jacks a National Guard truck. The music played during this scene is astounding, containing a heroic but frightening sound that propels the scene into epic proportions. Many of us know Goldsmith from his work on Planet of the Apes, Alien, and the memorable music from Star Trek, The Next Generation as well as some of the Star Trek films. His music here is right up there with those masterpieces.
The setting is one of the film's best points. Rather than a war torn jungle or desert, this is a simple little town hidden away in a vast wilderness. The mountains have many a place that catches the eye. Cliff faces, thick trees, abandoned mine shafts, the perfect place for a Vietnam vet to go bonkers. By far one of the best chapters of the film is when Rambo explores an abandoned mine shaft, with only torchlight to guide him. The no doubt freezing water and the deep orange glow of the flame light creates a feeling of dread and claustrophobia. Good thing Henry Jones wasn't there. He would have never made it past the rats. Finally, there is the town itself. It looks not like a place that could possibly become a war zone, but in the film's final act, it does. Oh boy it does. Believe me, this town looks the part once Rambo gets started.
Ted Kotcheff directs this film well. His career has not exactly been lucrative with average films like Weekend at Bernie's and Uncommon Valor. He has however gone on to contribute to Law and Order SVU, so apparently his works involving police officers are winners. That aside, Kotcheff really does capture the story well. He beautifully showcases the setting and keeps a close eye on the characters as they play out their drama. I find little flaws in the direction.
Camera work. Oh boy is it good. Always very tight, making the forest itself seem like it is closing in on our desperate protagonist. Some of the best work is in the above mentioned mine shaft sequence. The town is shown as innocent and vulnerable, the wilderness is photographed breathtakingly, the characters are shown intimately. There are a few quips with it. The scene where Rambo high jacks the truck contains a group of shots right out of Raiders of the Lost Ark. There is no denying it is a good angle to capture such a scene, but more creativity would have been nice. Other than that, this camera work is something special.
First Blood launched a mediocre but much beloved franchise where Rambo became a symbol of masculinity. It is largely forgotten that Rambo's first and best outing was when he was a scared and vulnerable human being attempting to fit back into society amidst a slew of rejections. This may not be Rambo's best known adventure. It is without a doubt the one with the most depth, the most heart, and the most important thing to say. Forget the piles and piles of bodies that would come. They pale in comparison to this compelling odyssey.
