Geostorm

Geostorm Undermines Its Own Potential

by Kristin Battestella

Independence Day writer Dean Devlin's 2017 directorial debut Geostorm undermines its own science fiction disaster movie possibilities with trite characterizations and convoluted conspiracies.

Dutch Boy satellite creator Jake Lawson (Gerard Butler) is called back to the space station he designed by his brother Assistant Secretary of State Max Lawson (Jim Sturgess) when the climate control systems that previously saved the planet malfunction – perhaps due to a saboteur. Weather all over the planet is drastically changing, leading to natural disasters and more catastrophes. Jake performs perilous space walks to root out the satellite's virus and uncover the onboard culprit while Max and his Secret Service agent fiancee Sarah Wilson (Abbie Cornish) investigate which of their superiors is behind the plot, be it President Andrew Palma (Andy Garcia) or Secretary of State Leonard Dekkom (Ed Harris).

Despite thunder, lighting, droughts, and hurricanes leading to planetary destruction, the opening of Geostorm is already problematic thanks to a juvenile narration with overly serious enunciation and extra emphasis that's almost laughable when viewers today have already experienced enough catastrophes. The audience plays catch up on the initial disasters necessitating this weather control as senate committees argue over who's in charge after the fact before changing their tune fifteen minutes later. Then, Geostorm restarts again three years on with the politicians still arguing after the satellite malfunctions when meeting the global scientists coming together to build a climate control satellite in the first place would have been a better place to begin. Learning the science on how all this might be possible is more entertaining than a kid explaining why the system is called Dutch Boy as if that's all we need to know to suspend our disbelief, and Geostorm plumb takes place at the wrong point in the story. Intriguing space station sabotage, airlock disasters, and hidden files are put on hold as Geostorm jumps from location to location to show eggs sizzling on the sidewalk or anonymous people outrunning lava in the streets. Possible moles, cover ups, and whispers of critical failure are less dangerous when such important information comes by phone, and the dialogue is so millennial they talk about how millennial they are. Geostorm needs to be cool or sarcastic because it is so afraid to be dramatic lest it be perceived as boring or slow. Massive equipment run amok set pieces are okay, however scientists with evidence add better depth than high tech screens or corrupted gear, and Geostorm cuts away from risky upside down spacewalks for ominous jerks on earth stealing White House servers – deflating its story about a weather satellite saving the planet from disaster when it should never leave the space station's tampering and gunpoint confrontations. Granted, bullets in an airtight environment are problematic, too, but so is having the system's access codes hinge on the current president's thumbprint. Of course America would do everything to keep a weather control satellite system from being turned over to international power. Revealing that as some secret shock just so one can kidnap the president in an orange mini cab and drive backwards while shooting at the pursuing bad guys unfortunately makes Geostorm laughably inferior to the Cobra Commander's Weather Dominator on G.I. Joe.

Throw away lines about being born in the UK but raised in the US don't let the bearded Gerard Butler (300) use his full Scottish burr, but he's entitled to some sassy after having saved the day by designing Dutch Boy. Jake is angry at the red tape and scoffs when his undermining brother needs his help. He's sad to leave his daughter with tearful promises, but Jake's happy to be back in business onboard the station. He's cocky but takes charge, knowing how to put what's wrong right whether it's revealing secret codes or getting physical with the bad guys. Jake acts tough but is also a big softy, and Geostorm should have focused on the space heroics at its core. Likewise Talitha Bateman (Annabelle: Creation) as Jake's daughter Hannah should have been more involved or not been in Geostorm at all. She says don't treat me like a child when she totally behaves like one, and after the annoying narration and early departures, she's only seen briefly watching the drama on the television before ending Geostorm with another hamfisted voiceover. Jim Sturgess' Max (Across the Universe) is also an unlikable hypocrite screwing his brother when it suits him before quoting him to the committees and buttering Jake up so he'll return to the project from which Max excised him. His cryptic calls in the night, snooping about security clearances, and trite hacking exposition muddle the picture with brotherly angst and motherly manpain, and I suspect Geostorm may have been better if his entire subplot were removed. It never feels as if he genuinely cares – Max wants to be in charge so he can dispense information to his big brother in an I know something you don't know ego trip. The characters work together because the picture says so, and Max's beady eyes won't let viewers forget his selfish motivation. 
 

Whether she's obvious in being suspect or going rogue when it matters, Abby Cornish's (Elizabeth: The Golden Age) Secret Service agent is not believable either. She's portrayed as a poor at her job and introduces herself as Max's fiancee as if their lack of chemistry is more important than her work. Although he's also presented as suspicious and wants this climate satellite fixed because it's an election year, I'd be here for Andy Garcia (The Godfather Part III) as President Andrew Palma if Geostorm didn't blatantly play into his red herring. Ed Harris (Appaloosa) likewise seems stiffer than usual as the Secretary of State orchestrating events behind the scenes. Familiar back and forths on men playing god with no real reason for the villain to be so evil become a cop out for the sci-fi disaster. It'd be great to see Harris scene chewing in a no holds barred drama about a corrupt politician's rise to power– but it doesn't belong in Geostorm. All this action was over a crooked politician? As they sing in Newsies, “That ain't news no more!” Rather than providing sophisticated technological insights or intelligent, realistic dialogue; numerous cliché characters litter Geostorm, too, including the geeky but hip black lesbian hacker and the nerdy Asian guy in glasses. Such utilitarian roles are only here because the personnel had to be, and making those placeholder characters minorities creates false diversity onscreen. There's a Mexican scientist who gets blown out the airlock, a French astronaut with a swarthy accent, a sassy British programmer, and a shopworn betrayer motivated solely by money. These characters are often seen and not heard, as if the flags on their sleeves are enough to hit home that international feeling. 'Scusi?

The storm clouds, satellite images, weather graphics, and frozen eerie in the wrong environment can be great. Spacesuits, weightlessness, solar panels, and spacial switchboards invoke the sci-fi mood amid countdowns and power reboots while the futuristic yet old fashioned shuttle launches sentimentally recall those vintage NASA flights we don't see anymore. However, Geostorm has an unrealistic and jarring digital gradient, as if the print has been through too many filters and we can see the Photoshop. Lighting changes as people stand near windows in separate cross coverage are apparent, and up close shots almost look like graphics themselves – overlays hiding if actors weren't in the same place at the same time with Ed Harris particularly appearing as if he was digitally inserted into his scenes. Where space should be drifting or quiet, Geostorm's look is both stilted and fast with hip music and cool action giving no pause for the audience to awe. Every scene transition is an unnecessary establishing pan – we don't need the obviously fake D.C. townhouse swoop when we know the character inside is earthbound. Such expensive but poor shots make Geostorm look wasteful on top of uneven sound and contemporary redundancy. Characters say silly things about Chromebooks, but will Chromebooks still be around in seven years? It might have been neat to only see the natural disasters from the space station's point of view as crew tap into satellite footage or watch the global devastation from above– as compared to the typical in your face disaster action with babes outrunning snow on the beach. Fittingly, the trailers on the Geostorm rental disc also look the same with fast editing and that boom...boom....boom... music. From ominous set ups, cool slow mo action, silent money shots, and a comedic stinger; Ready Player One, Tomb Raider, Justice League, and Blade Runner 2049 become a seven minute advertisement for one long interchangeable CGI fest. In a world where all films use the same CGI company and trailers follow a broad, formulaic pattern, there was one man who could save the movie marketing industry from itself. His name: Don LaFontaine...

Viewers can tell Geostorm had multiple writers and re-shoots with a different director across two years, as it really is two movies in one. Audiences looking for science fiction will be frustrated by the pedestrian conspiracies – that's not what it says on the tin so expecting one movie and getting another is not a pleasant surprise. The messy script and faulty framework provide humorless flavor to the popcorn, and shoehorned plots with unnecessary characters detract from the disaster action. Geostorm was already up against the wall with shuffling release dates; it's tough to enjoy such weather fantastics after so many real natural disasters, and the tacked on White House conspiracy is now tone deaf, too. Although fun for fans of the cast or those seeking late night action kicks, Geostorm doesn't embrace its entertaining space station moments, remaining cliché and cynical when viewers are in desperate need of a feel good, heroic piece.

Appaloosa (2008)

Appaloosa A Quiet, Character Western

by Kristin Battestella

Co-writer, director, and producer Ed Harris (Pollock) also stars in the 2008 western Appaloosa. Based on the Robert B. Parker (Spencer for Hire) novel, this quiet character piece invokes a nostalgic, sophisticated atmosphere with period detail and fine performances.

It's the New Mexico Territory, 1882 and the town of Appaloosa calls in peacekeeper Virgil Cole (Harris) and his deputy Everett Hitch (Viggo Mortensen) to bring in murderous, power hungry rancher Randall Bragg (Jeremy Irons). Cole's reputation for the law proceeds him, however neither he nor his deputy know how to handle the affections of widow Allie French (Renee Zellweger) – much less interference of hired gun Ring Shelton (Lance Henriksen) amid train raids, corrupt trials, Chiricahua standoffs, and betrayed alliances.

Quick shootouts are the real law here, immediately setting the reckless tense as the narration tells of bitter soldiers post War between the States choosing sides in The West. Viewers must pay attention to the dialogue, for information happens fast amid the sophisticated conversations and legalese agreements. Despite rugged airs as enemies sit down at opposite sides of the table to share a whiskey, there's a civilized code of honor to the violence – chit chat on the law versus the outlaw as two sides of the same coin. Dual layers, rivalries, and subtle jealousy keep this character piece classy rather than embellishing the drama with try hard cool. However, Appaloosa gives our gents enough cowboy fun even if the buddy moments, verbal spars, and chuckles have a certain gravitas. Tender scenes between the fisticuffs don't hit the audience over the head with scandal, and good or bad, everybody wears black hats. The raids at dawn, jailbreak vigils, circuit judge, and sheriff escorts are common to the genre – Appaloosa feels similar to a lot of John Wayne or Richard Widmark pictures – but this isn't a knock off or spoof playing into the western winks. Appaloosa is also not a slow piece, however the film making itself may be pleasingly perceived as quiet. Players converse in reasonable length scenes, polite two-shots let the cast be, and no noticeable editing intrudes on the debate. Where today's movies often over rely on physical action replacing plot progression, here conflict happens with introspective character movement rather than crescendos. Dangerous bridges, abductions, and nail-biting negotiations are done in camera without zooms or bombastic antics. Personal and professional love triangles collide via the symbolic framework of an unfinished house, and horseback pursuits ride on alongside standoffs and treachery as enemies must work together before the final shootout.

Gruff in his beard Viggo Mortensen's (Eastern Promises) Everett Hitch may have quit his West Point commission but he's still never without his eight gauge shotgun. He may follow Virgil Cole, finish the shootout, pull him off in a fight, or back him up whichever hot or cold is required, yet the lawmen seem more like an equal pair rather than marshal in charge and obeying deputy. Townsfolk prefer discussing their predicament with the more amicable Hitch, and he's silently barters with a Chiricahua raiding party. Despite any bust ups on the case, he apologizes for Virgil's sandpaper ways because he gets the job done. Hitch refuses to debate whether he's a better gunslinger since Virgil is the undisputed best, but Cole says it's Hitch's emotions that keep him from the top. What will it take for him to step out of Virgil's shadow?Audiences today aren't used to seeing men talk about their sensitivity onscreen, but lawmen catching feelings can only lead to trouble and the emotion is a dynamic change of pace. Although Hitch chooses to be second fiddle, several critical scenes are from his point of view, and his larger than life shotgun posturing is often the center of the frame – visually, he is the true star of Appaloosa in the unspoken spirit of The Man Who Shot Liberty Valance. Of course, black hat suave Ed Harris as Virgil Cole insists town leaders sign his way into law and warns victims he is a fast draw but will pistol whip a cowboy to get answers. Virgil's a cold killer but doesn't like a lady teasing him about being socially awkward. He's not well spoken and has a poor vocabulary but educates himself. While Cole is not without compassion, apologizes when warranted, and insists on being straight with Hitch; he's unaccustomed to the personal interfering with the professional, refusing to think about anything else until their quarry's caught. Can Cole give up his stubborn marshaling and idly retire in Appaloosa? Though not intended as homosexual, there is a deep, comforting trust between these characters – an inseparable bat man relationship with humor and caring a woman can't understand. Unfortunately, Virgil's blind to any jealously and needs Hitch's aide thanks to the hitherto unknown domestic.

Renee Zellweger (Chicago) as piano playing widow Allie French, however, has the men looking twice as she talks sassy and makes Cole blush. She wants to be with him but dislikes how his work will always be first. Allie doesn't want to be a part of his profession – especially when her life is at risk – and thus turns her flirtations toward the equally besotted Hitch. She's wise to the two men competing even if they don't seem to really know women at all. Hitch insists they are both “with Virgil” and not “with each other,” unaware of the deliberate game she is playing. Allie is not a foolish lady and does what she has to do. A woman in this era must stick with the nearest man to survive, and the higher the man, the better. Such pretty is going to be problematic, and Allie resents how a woman can't be the real boss outside of playing house. Although the character is meant to be wishy washy, the portrayal is too uneven and falls flat amid the stronger leads. Allie comes between the men because the plot says so, not because she is really going toe to toe with them in a shrewd, feminine game of chess. Despite unanswered questions about her, the character is unlikable rather than mysterious and there's no reason to care about her mixed motivations. The name Bragg, however, fits Jeremy Irons' (High Rise) power hungry rancher. He contests the lawmen at every turn, teasing Virgil about reading Emerson while gloating about their at odds social standing and his friends in high places. The one on ones are great when we get them, but Bragg needed a little more to do than bookend the piece with his crimes and swindles. There's no real reason why he goes from rancher to sheriff killer – refusing to surrender his rapist work hands doesn't create villainous dimension. There's more to his and the town story in the deleted scenes and behind the scenes discussions on the Appaloosa blu-ray set, but in a western, the bad guy just has to be the bad guy, so any added class from Irons is a bonus. Likewise, there should have been more to gun for hire Lance Henriksen (Near Dark). He's willing to fight at the Chiricahua raid or hold up a train – but the price influences which side he defends.

Ranch emblems, wooden buildings, and traditional western front architecture establish Appaloosa's Old West atmosphere along with numerous gun belts and cowboy hats. Desert vistas and mountainous scenery make those on horseback tiny on the dusty frontier while contrasting Victorian décor, wallpaper, oil lamps, and tea sets keep the interiors civilized. Carriages, outhouses, and saloon doors complete the expected western style yet Appaloosa remains colorful and bright without the commonly associated fifties pink or mid-century garish design. The muted look and old fashioned patina, however, is not so modern bleak, dark, and grainy that viewers can't see the nighttime action. The gunshots are also not outrageously loud, preferring a more natural pop and the resounding thud when a man drops. It's a surprising natural choice that makes the gun violence more ruthless, for these shootouts aren't rad cool action scenes but a fast draw where the killer doesn't bat an eye. Precious little language, nudity, brief horse injuries, and blood likewise refuse to bow to sensationalism. Instead Appaloosa has an amazing attention to detail with vintage costuming and period trains. Choice music is only used for otherwise quiet scenes and riding transitions, adding to the lawless beauty with guitar strings and Spanish motifs. Appaloosa is impressive for its mere twenty million dollar budget, again questioning why such mid-sized pictures have fallen out of Hollywood favor.

While underwhelming to some who think nothing but too much talking is happening, Appaloosa has an audience in fans of the cast and viewers seeking quality westerns. Granted, the plot could have been more well rounded between the law and the villains. This won't be a gritty two hours as some expect nor have enough lighthearted moments for others. Appaloosa is more about the character relationships and takes several viewings to pick up all the subtle dynamics. The straightforward story of buddy marshals versus bad guys and a woman coming between them provides enough layered nuances. Compared to the recent The Magnificent Seven remake that has all the extra bells and whistles yet felt lacking, Appaloosa has personality, quirks, and man versus man, man versus nature, and man versus himself conflict that better states the unspoken man's man without all the in your face. There are sequels to the source novel – today this would be a television series for sure – but I'd love to see this stock company continue doing more western character pieces. Appaloosa has a charming cast, location, and style with both western motifs of old as well as maturity and a modern sophistication worth a look.

Country Horror and Scares!

Country Scares Round Up!

By Kristin Battestella

Rednecks, hicks, desolate locales, and backwater crazies certainly make for a bevy of horrors, death, cannibalism, and disturbia. Enjoy the frights herein, y’all!

Creepshow – Terror titans George A. Romero (Night of the Living Dead)  and Stephen King (Carrie) present this 1982 anthology featuring a spooky fun cast including Ted Danson (Cheers), Ed Harris (Apollo 13), Leslie Nielson (The Naked Gun), Adrienne Barbeau (Maude), and Hal Holbrook (The Senator). The expected anthology frame blessedly remains as only opening and closing bookends with a few scary winks, letting the animated transitions, red and blue lighting, and comic book styled backgrounds or cell frame designs accent the scary and carry the pulp homage. While some nods are too obviously placed or too humorous for some, the lighthearted, almost camp and endearing at times tone is in keeping with the creators’ nostalgic Tales from the Crypt creepy of yore feeling. The first “Father’s Day” tale is a little short but has a now dated kitsch and gruesomely bemusing result. “The Lonesome Death of Jordy Verrill,” however, is kind of dead end. It’s surprising that Stephen King can act as the stupid hick so well, but a vegetation meteor run rampant doesn’t have that much impact – no pun intended. Fortunately, the lengthy “Something to Tide You Over” provides pretty but deadly beachy with vengeful tides and a quality, watery comeuppance. “The Crate” has some obnoxiously fun performances to match its hokey, inexplicable monster, and the final “They’re Creeping Up on You” is surely not for people who dislike bugs, namely cockroaches. Lots of cockroaches – many, many cockroaches everywhere! Certainly this can be uneven in scares and brevity as anthologies often are, but all in all, there’s a good, macabre ride here.

Deranged – You’ll never look at Home Alone the same way again after seeing Roberts Blossom in this 1974 AIP slasher! Deaths simmer thanks to fine build ups, suspense, and pursuits – not to mention the gross necrophilia possibilities, skin wearing, morbid transvestite extremes, human bones about the house, and au naturel instruments adding to the macabre ambiance. The sense of dementia, local language, warped small town unassuming, and backwoods suggestion create an ironic old time quaint, accented by bent organ music and askew religious views. Corny narrator Leslie Carlson (Black Christmas) appears in early scenes as an onscreen reporter recounting the Ed Gein true story genesis, but the fourth wall breaks smartly disappear as the second half escalates. Brief nudity and lingerie work with the appropriately dark humor as well while over the top quips, chubby women, fake séances, and bungling sex innuendo match the sinister planning and delicate but twisted craftsmanship. The acting and cast may not be in everyone’s style today, yet the performances fit the material and tone perfectly. Thanks to the sense of past isolation for contemporary audiences, the very effective mood, atmosphere, and disturbia here has aged fairly well, making this one a must see study for horror fans or criminal and psychology scholars in comparison to other Gein inspired pictures. 

 

Motel Hell – You just know what the secret ingredient is in this 1980 country cannibal thriller! Ironic use of hillbilly music and television evangelist Wolfman Jack contribute to the charming and quaint but disturbed feeling here – the mix of late seventies styles and early farmhouse contentment doesn’t seem dated at all. Hanging pigs and slaughterhouse gore aren’t too over the top, but enough bloody suggestion and touches of nudity and kinky accent the dark humor and bizarre yet sentimental familial relationships. Rory Calhoun (How to Marry a Millionaire) has some sick and disturbing fun here yet remains strangely endearing, heck, even likeable. Vincent Smith’s reducing the riff raff population and keeping the community fed – it all seems like a real win win, and the winking tone pokes fun at this irony without being laugh out loud. The audience can chuckle at the soothing New Age eight track music amid the escalating events and interfering romance. Who’s next? When will the good guys find out? The pig mask and chainsaw duel in the finale are stupid and not scary now, hampering the otherwise bemusing wit and multi layered action. However, all in all this is some down home simmering and well done entertainment.

Skip It!

 

Trip with the Teacher – A faded picture, bad seventies styles, bug eye goggles, and tacky music are the least of this 1975 short bus desert escapade gone awry’s problems. The biker badass never comes thanks to brothers just playing at punks and terrorizing women while other characters remain stupid via poor scripting and acting. The rape revenge terror nasty has been done better elsewhere, and the time here aimlessly escalates the violence as it somehow also remains too tame – PG-13 brief nudity and the inability to say dirty words despite such heavy subject matter. We never find out why the perpetrators have such a ‘tude; the teen girls look way too old to not suspect what these jerks want to do to them and thus they remain reactive instead of forward thinking. The skimpy hot pants and catfights may be enough for some viewers along with the innate lecherous and natural isolation, but nothing is done with either. Some bike chases up the ante, but unclear motivations hamper any endearment for the victim or fear of the villain. Are we supposed to care about the bad guy’s malfunction? Sexual violence suggestions should be scary enough, but such implications feel cheap and the revenge empowerment nonexistent – four women can’t subdue one unarmed drunk guy? Everybody watches but no one does anything until a heroic man arrives? Even the end credits have scenes of each player with the women receiving credit over their most degrading shots while the guys have cool smiling stills. Wtf? The possibilities for silent, sinister isolation are lost in weird, artsy, and time wasting clichés here. Yes, walk passed that fully functioning motorcycle as you run into the desert for help!