Lara Croft: Tomb Raider
Dir: Simon West
2001
***
Adaptations
of video games very rarely go well but 2001’s Lara Croft: Tomb Raider (also
known as simply Tomb Raider) was an exception. It’s no masterpiece and I’m not sure
anyone looks back on it with that much regard but while it was criticized for
its somewhat camp and cartoonish action, those were the two qualities I rather
liked about it. Simon West was a pretty good choice of director in my opinion
and while I was in the Rhona Mitra camp, Angelina Jolie turned out to be
a good choice as Lara Croft after Jennifer Love Hewitt, Famke
Janssen, Jennifer Lopez, Ashley Judd, Sandra Bullock, Catherine
Zeta-Jones, Diane Lane, Demi Moore and Denise Richards were all
considered. Any adventure where our hero has to obtain ancient artifacts
from the Illuminati is also okay by me. It’s a ridiculous but fun idea and it
begins in a ridiculous and fun manner where we find Lara Croft battling a
large robot in an Egyptian tomb in pursuit of a diamond. She disables said
robot by ripping out its circuits. The diamond, revealed to be a memory card,
is inserted into a laptop computer inside the robot to play music. The fight
took place in a practice area of Lara's home and the robot was programmed by
her technical assistant Bryce (Noah Taylor) to challenge her in combat. Utter
nonsense but it came as a relief that the film clearly had no intention on
being held seriously. It gets sillier when we are told that the first phase of
a planetary alignment, culminating in a solar eclipse, has arrived.
In Venice, the Illuminati search for a key that will rejoin
halves of "The Triangle", which must be completed by the final phase.
Manfred Powell (Iain Glen), an Illuminati member, assures that they are almost
ready, but actually has no idea of the location. Lara's butler Hilary (played by Red
Dwarf’s Chris Barrie), tries to interest her in several projects, but on
account of the anniversary of her father's disappearance, Lara is not
interested. She dreams of her father telling her about the alignment and an
object linked to it, the Triangle of Light, and awakens to a clock ticking.
Lara finds the clock and Bryce discovers a strange device hidden inside. Lara
consults a clock expert friend of her father's, Wilson (played by the great Leslie
Phillips), who claims no knowledge of the clock or the Triangle when Lara
mentions a possible connection. Wilson gives Lara's name to Powell in regards
of the clock. Lara encounters Alex West (future Bond Daniel Craig), a fellow
tomb raider with unscrupulous methods and for-profit attitude. Lara shows
Powell photographs of the clock; she later points out to Bryce that Powell was
lying about his knowledge. That night, armed commandos invade the house and
steal the clock despite Lara's attempts to fend them off. The next morning, a
letter from her father, arranged to arrive after the beginning of the
alignment, explains that the clock is the key to retrieve the halves of the
Triangle of Light, an object of phenomenal destructive power which grants its
wielder power over time and space. The Triangle destroyed the city it was
housed in after misuse of its power. It was then separated in half; one was
hidden in a Cambodian tomb, the other in the ruined city, now part of
modern-day Siberia. Her father urges her to find and destroy both halves before
the Illuminati can find it. In Cambodia, West figures out part of the puzzle on
how to retrieve the triangle half. However, West is incorrect and Lara figures
out the true puzzle, informing West and Powell that what they thought was the
correct holder for the key was but a reflection. She reminds Powell that they
only have so many seconds before the opportunity is gone for another 5,000
years. Powell, realizing West was wrong and that Lara is right, and that she is
the only one who can solve the puzzle, throws her the clock. Lara proves she is
right as she inserts the key and the half of the triangle is revealed. Before
everyone can leave, the liquid metal which came out with the piece brings the
statues in the temple to life and attacks the team killing some members. Lara
is left to fight off and destroy a huge six-armed guardian statue which is the
last one to come to life. She successfully defeats it and leaves the temple by
diving through a waterfall. She then travels to a Buddhist town where a young
monk welcomes her. After a worship service, an aged monk who serves as the
chief gives Lara some tea and as they converse, he reminds her to get a much
needed rest to continue her father's mission, implying that that monk might
have been Lara's father's acquaintance. She and Powell arrange to meet in Venice,
since each of them has what the other needs to finish the Triangle. Powell
proposes a partnership to find the Triangle, and informs Lara that her father
was a member of the Illuminati, which she vehemently denies. Though hesitant at
first, she, along with Bryce, meets with Powell for the trip to Siberia. Entering
the tomb, the teams discover a giant model of the solar system, which activates
as the alignment nears completion. Lara retrieves the last half of the
Triangle, but when Powell tries to complete it, the halves will not fuse. He
realizes that Lara knows the solution to the puzzle, and kills West in order to
persuade her to complete the Triangle to save both West's life and her
father's. Lara reluctantly complies, and they then struggle for control of the
Triangle, with Lara prevailing and saving West's life. Lara then finds herself
in a strange alternate existence facing her father Lord Richard Croft (Jolie’s
real father Jon Voight). He explains that it is a "crossing" of time
and space, and urges her to destroy the Triangle instead of using it to save
his life. Lara leaves her father and returns to the chamber, where time is
slowly running backwards from the point where Powell killed West. Croft takes
the knife Powell threw into West's chest and reverses it, then destroys the
Triangle, which returns time to its normal flow and directs the knife into
Powell's shoulder. The chamber begins to self-destruct. As everyone turns to
leave, Powell reveals to Lara that he murdered her father and stole his pocket
watch with a picture of Lara's mother inside as a trophy. Lara and Powell
engage in a hand-to-hand fight. Lara kills him, retrieves the pocket watch, and
escapes as the chamber crumbles. At the mansion, Hilary and Bryce are shocked
to see Lara wearing a dress. She goes into the garden to her father's memorial,
then returns inside, where Bryce has a reprogrammed SIMON, ready to challenge
Lara once again. Hilary reveals a silver tray holding Lara's pistols, which she
takes with a smile. The film gain a lot of attention as it marked the first
time Jolie had spoken to her father Jon Voight for many years and the tabloids
loved the drama. It was the first time for me that Daniel Craig popped up on my
radar and I loved that Chris Barrie was in a big Hollywood movie. Hardcore fans of the
game complained that Jolie was right for the part because she was American and
not British but what they really meant was that her boobs weren’t as big as the
computer game character’s. Daniel Craig put on an American accent so I thought all
was fair really, both actors did well in such an outrageously silly film. It
really was no masterpiece, and to be honest the first few years of the new millennium
were disappointing when it came to the world of cinema but there were far more less
fun and entertaining films available at the time and not many female-fronted
ones either. It wasn’t such a bad film.
Showing posts with label Simon West. Show all posts
Showing posts with label Simon West. Show all posts
Friday, 10 August 2018
Tuesday, 7 March 2017
The Mechanic
Dir: Simon West
2011
***
I'm not sure why anyone would want to remake such a film as
The Mechanic really as the original is so 70s cool, anything else would be a
soulless imitation. Simon West's remake is indeed a soulless imitation but it isn't without merit. It's hard to
see it as anything other than a Transporter spin-off, given that Jason Statham
pretty much plays the same sort of character. He may not have been an
assassin in the Transporter movies but he still lived a life of solitude
and luxury. In many respects Transporter was a loose remake of The Mechanic, so
it comes full circle, maybe another actor would have been less
distracting but I love Jason Statham, we all love Jason Statham, and
he is perfect in the role. You can't really compare Statham and Charles Bronson
and I'm not going to attempt to, both are great and both play a good Arthur
Bishop. I think I was more concerned over the character of Steve McKenna, as I
have always loved Jan-Michael Vincent's performance, being a huge Airwolf fan
and all but thankfully Ben Foster puts in a brilliant performance, in a way
that only he could. The adaption is pretty faithful to the original, except for
a slight change towards the end. The original beats the remake hands down in
this respect but I was entertained throughout. I'm no big Simon West fan but the man can do action and in terms of action movies he's up there as one of the best. Statham has made so many other more original action thrillers
though and most of them are pretty good, time to stop with the remakes I think.
Wednesday, 4 November 2015
The General's Daughter
Dir: Simon West
1999
**
Simon West's 1999 drama/thriller, The General's Daughter, somewhat condemns the U.S. army's stance of global superiority, independence, secrecy and the overall idea that they are above the law. In some respects, the story supports this notion and also declares itself as 100% patriotic, so it's quite confusing really but it's safe to say this isn't because it is a clever satire or a post-modernist protest. Visually, it's got all the same formulaic styling and the same 'army porn' nonsense as all American military films have. The story is compelling to a point but it soon delivers the disturbing and quite offensive message that basically, every man is a potential rapist/murder and all round a**hole. Fairly insulting to men but it's also not exactly respectful to women either, even though it's supposed to be supportive. Insulting and stupid, contradictory writing and nonsensical ideas make for brain-dead viewing.
Dir: Simon West
1999
**
Simon West's 1999 drama/thriller, The General's Daughter, somewhat condemns the U.S. army's stance of global superiority, independence, secrecy and the overall idea that they are above the law. In some respects, the story supports this notion and also declares itself as 100% patriotic, so it's quite confusing really but it's safe to say this isn't because it is a clever satire or a post-modernist protest. Visually, it's got all the same formulaic styling and the same 'army porn' nonsense as all American military films have. The story is compelling to a point but it soon delivers the disturbing and quite offensive message that basically, every man is a potential rapist/murder and all round a**hole. Fairly insulting to men but it's also not exactly respectful to women either, even though it's supposed to be supportive. Insulting and stupid, contradictory writing and nonsensical ideas make for brain-dead viewing.
Monday, 9 March 2015
The Expendables 2
Dir: Simon West
2012
**
They learnt nothing from the mistakes that were made in the first film but thought a little extra Willis/Schwarzenegger screen time would make up for it. It didn't. I wont deny that it wasn't great to see the three of them together, the inclusion of JCVD was okay as the bad guy but Chuck Norris's scene was utterly embarrassing, it was a crap cameo just to get his name on the poster. That's really what the Expendables is, a poster with a film rather than a film with a poster. Where the hell was Jet Li? His name was on the poster but his screen time was under a minute. This is a prime example of quantity over quality with added dishonesty. This should have stayed as a 12 year old boy's dream rather than a reality.
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