Tag Archives: Matt Frewer

1997 Films, Animated, Comedy, Disney, Fantasy, Kids

Hercules-1997

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Hercules-1997

Director Ron Clements, John Musker

Voices Tate Donovan, James Woods, Danny DeVito

Scott’s Review #1,109

Reviewed February 7, 2021

Grade: B-

Hercules (1997) is a modern-day Walt Disney film that centers on Ancient Greek mythology. The premise is one I find fascinating, and the characters of Hercules, Zeus, Hades, and Pegasus are the focus.

The names alone hold intrigue and appeal, but the film is only an adequate watch.

The product feels “produced” and lacks the authenticity and sincerity that are rich and seamless in beloved Disney classics like Snow White and the Seven Dwarfs (1937) or Bambi (1941).

Besides the initial story intrigue, the animations are nothing particularly special, and it feels too kiddie-like.

It’s like comparing The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band is a historical album, to a latter-day solo effort by Paul McCartney, and that’s being generous.

It may be fine, but it can’t hold a candle to the former.

And “fine” is not what I wanted from a Disney film. That’s what I felt about Hercules. It’s okay and entertaining, but not up to snuff as compared with finer films.

The film is equipped with a fantastic villain, though the best part of Hercules is not the mythological elements. James Woods, who voices the character of Hades, is wonderful, and I’m hardly a James Woods fan, but for other reasons, like his politics.

Anyway, the rivalry and competitive edge of Hercules and Hades are unique and compelling and will hold one’s attention.

It all begins in a perfect Disney way when Hercules (Tate Donovan), a son of the gods, is snatched as a baby by Hades and forced to live among mortals as a half-man, half-god.

When he becomes an adolescent, Hercules must undergo a rite of passage on Earth to prove himself worthy to live with the gods on Mount Olympus.

With his sidekick, Philoctetes (Danny DeVito), in tow, Hercules must learn to use his strength to defeat evil creatures.

The strong message is written in Hercules to appeal to a sense of good overthrowing evil. It’s a Disney film, trust me, it will.

Though predictable, the story feels good in a world where far too often the bad guys get away with bad things and the good guys don’t get enough credit.

Appealing and targeted mostly to kids, the film made a ton of money, which means a lot of kids saw it. A great reminder is that with any luck, truth and honesty will win out. So will remaining true to oneself.

Woods makes Hades a villain with an edge rather than a generic, cookie-cutter type. Hades speaks rapidly, like a used car salesman trying to sell a customer a good deal. We can tell we are being swindled, but there is fun in that.

Megara (Susan Egan), Hercules’ intended love interest, works for Hades, adding a layer of intrigue.

Unfortunately, the romance between Hercules and Meg never gets off the ground or works well. The main issue is that there is little chemistry or romantic potential between the couple.

Meg isn’t my favorite Disney character. She is a sarcastic damsel whom Hercules saves from the centaur Nessus.

After Hercules and the others leave, Meg is revealed to be Hades’ servant, having sold her soul to him to save a lover who then left her. She’s had a tough life and finally does the right thing, but I never felt invested in the character.

The main song from the film is okay, but rather forgettable. The title of “Go the Distance” is a song of determination, but also generic and unmemorable.

The look of the animations has a 1990s vibe, with bright, vibrant colors that feel “of the time” rather than classic or alive.

A decent effort, Hercules (1997) hits its mark sometimes and misses completely at other times.

I was enraptured by the historical and mythological gods and the trappings that go along with that mystique, but the modern spin didn’t work and only made me yearn for the classics from the 1940s and 1950s.

Oscar Nominations: Best Original Song-“Go the Distance”

2011 Films, Comedy, Drama, Independent, Independent Comedy, Independent Drama

50/50-2011

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50/50-2011

Director Jonathan Levine

Starring Joseph Gordon-Levitt, Seth Rogen

Scott’s Review #1,001

Reviewed March 17, 2020

Grade: B+

Cancer is an incredibly tricky subject to portray in a film. Especially tough when any comedic bits are incorporated- the risk lies in jokes not going over well or being misinterpreted.

In 50/50 (2011), director Jonathan Levine and writer Will Reiser craft an intelligent, genuine story based on a true story, led by upstart actor Joseph Gordon-Levitt, who shines in the lead role.

Comic actor Seth Rogen joins to anchor the comedy.

Healthy twenty-something Seattle resident, Adam Lerner (Gordon-Levitt) experiences severe back pain and is shocked to learn he has a malignant tumor in his spine.

Devastated, his world is upended.

Adam is usually accompanied by his best friend Kyle (Rogan).

While Kyle is brash and outspoken, Adam is reserved and mild-mannered. They are opposites, but inseparable friends. Adam is dating artist Rachael (Bryce Dallas Howard), whom Kyle despises, adding conflict to the story.

The screenplay and Gordon-Levitt’s performance are the film’s strongest elements. The title of the film is poignant because Adam is given the dubious news that he has only a 50/50 chance of surviving his cancer.

The young actor brings heart and soul to his challenging role, and his acting keeps the scenes from feeling clichéd or manufactured. This, naturally, is due to the excellent writing by Will Reiser.

He crafts a sincere, straightforward script that avoids razzle-dazzle but remains heartfelt.

My only criticism of 50/50 is that I would have liked a bit more darkness. As we all know, real-life cancer patients must endure the ravages that brutal disease inflicts. The film never really goes there to show how devious the disease is or what happens to the human body.

I get that the film toes the line carefully, but even after shaving his head, Adam doesn’t lose much weight or suffer other visible indignities.

The toned-down approach feels PG-rated rather than R-rated as it might have been.

This is largely forgivable because the film’s main message outweighs it. The film shows that love and friendship can be the best healers and the root of good, kind humanity. This is something every viewer can take away, and it makes the film lovely and worth watching.

The romantic comedy elements do not work, and I am not even sure they are necessary. The main draw is the undying friendship between Adam and Kyle and Adam’s experiences with other cancer patients along his journey.

Combining comedy and cancer is not easy, but thanks to exceptional writing and a talented cast, 50/50 (2011) succeeds in its aims.

The film and Gordon-Levitt earned Golden Globe nominations but missed out on Oscar nominations. If the film’s intended result is to ease cancer patients’ minds and provide meaningful entertainment, it’s a major win.

Independent Spirit Award Nominations: 1 win-Best Feature, Best Supporting Female-Anjelica Huston, Best First Screenplay (won)

2004 Films, Action, Horror, Post-apocalyptic, Zombie

Dawn of the Dead-2004

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Dawn of the Dead-2004

Director Zack Snyder

Starring Sarah Polley

Scott’s Review #956

Reviewed November 8, 2019

Grade: C+

Dawn of the Dead (2004) is a remake of the original horror-comedy-satire film by legendary George Romero.

What the original provided in intrigue and concept is lacking in the much bloodier remake- the freshness is not there.

The film was made pre-television phenomenon The Walking Dead, but watching it now, with the zombie obsession in a steady decline, it feels tired and dated.

The film feels patterned after the successful and fresh 28 Days Later (2002).

Now set in Wisconsin (the original was in Pittsburgh, Pennsylvania), Ana (Sarah Polley) returns from a shift at the local hospital, where she works as a nurse.

She soon learns that massive bulletins alert to a sudden zombie plague, where former human beings have turned into cannibalistic corpses.

Her husband a victim, Ana joins a small group of survivors at the local shopping mall and attempts to stay alive while being encircled by the creatures and other not-so-nice people.

The main group includes a grizzled police sergeant, Kenneth (Ving Rhames); electronics salesman Michael; petty criminal Andre and his pregnant wife, Luda; and three guards, C.J., Bart, and Terry.

They are later joined by others who arrive via delivery truck.

The large group befriends another survivor, Andy, who is stranded in his gun store across the zombie-infested parking lot.

The rest of the film off the characters one by one in traditional horror style, while the remaining few try to figure out an escape route.

The main problem with Dawn of the Dead is that the characters are poorly written, making them one-note, not particularly interesting, and quite stereotypical.

Examples of this are the angry and defiant guards, who make trouble for the rest of the group for no other reason than to serve as a weak plot device to create drama beyond the zombies.

Kenneth is an angry cop, a lone-wolf type of character who frequently postures and preaches. Again, there is no interesting reason behind his personality.

Finally, Steve is an oversexed playboy who keeps recordings of his sexual shenanigans for repeated viewings.

The character meant to root for is Ana. We sympathize with her for her husband’s gruesome death and her struggle to stay alive, so she is the film’s hero. Her character is likable, and Polley is a worthy actress, but I wonder if a name star would have been better in this circumstance.

Polley did not last long in Hollywood, acting anyway, which only makes the film feel more dated than it already does. Many viewers will not know who the actress is.

Another irritant is the decision to make the zombies move faster. Part of the beauty of the zombies is that they are slow and brooding, unable to think, just existing in a mummy-like haze.

Suddenly, they are fast, making them harder to escape. This attempt at a modern approach, by changing too much, does not work.

Dawn of the Dead is not all dour.

Props must be given to the mall setting, updated for 2004 shopping inclusiveness. Trendy and timely stores are added, and it feels like a mall of its time. This is one aspect of the film that works and feels interesting.

Eagle-eyed viewers may spot some of their favorite stores from this decade.

The strongest part of an otherwise mediocre film is the brilliant incorporation of the heavy-metal band Disturbed’s aggressive song “Down with the Sickness” from 1999.

The song is incorporated over the stylistic end credits, and a summary of what happens to the survivors is provided over the lyrically brutal song.

Unfortunately, it is at the very end of the film where it finally hits a home run.

Since this is a remake, it is impossible not to compare it to the 1978 version in many ways.

The characters in the original had more salt, and a romance added a bit of complexity. The original also felt fun, whereas the 2004 version seems hardened and angry.

The originality that made the original fresh is lacking in this retread, limiting the unique social context and thought-provoking nature it contained.

With little reason to watch Dawn of the Dead (2004), unless it was still 2004, the original 1978 Romero version is far superior. A fun tip might be to watch them in sequence to notice differences in style and pacing, and for general comparison’s sake.

The final musical score is a win, but much of the rest is dull and dated.