Review: John Carpenter's "The Ward" is Amber Heard's Movie

TRASH IN MY EYE No. 73 (of 2011) by Leroy Douresseaux

John Carpenter’s The Ward (2010)
Running time: 88 minutes (1 hour, 28 minutes)
MPAA – R for violence and disturbing images
DIRECTOR: John Carpenter
WRITERS: Michael Rasmussen and Shawn Rasmussen
PRODUCERS: Peter Block, Doug Mankoff, Mike Marcus, and Andrew Spaulding
CINEMATOGRAPHER: Yaron Orbach (D.o.P.)
EDITOR: Patrick McMahon
COMPOSER: Mark Kilian

HORROR/THRILLER.MYSTERY

Starring: Amber Heard, Mamie Gummer, Danielle Panabaker, Laura-Leigh, Lyndsy Fonseca, Jared Harris, D.R. Anderson, Mika Boorem, Susanna Burney, Sean Cook, Sali Sayler, and Jillian Kramer

The Ward is a horror movie that debuted at the 2010 Toronto International Film Festival. After that debut, the movie played internationally and received a limited release in the United States this year, before being recently released on DVD. The Ward is also the first full-length feature film directed by famed horror moviemaker John Carpenter since 2001’s Ghosts of Mars. The Ward focuses on a young woman held in a mental institution that is haunted by a murderous ghost.

The story opens in 1966 as Kristen (Amber Heard) sets fire to an abandoned farmhouse. The next day she is taken to the North Bend Psychiatric Hospital in North Bend, Oregon. She is placed in “the Ward,” with several other young women: Iris (Lyndsy Fonseca), Sarah (Danielle Panabaker), Emily (Mamie Gummer), and Zoey (Laura-Leigh). These other patients mostly avoid her, and after the first night, Kristen suspects that there is something really wrong with this hospital.

Kristen soon meets her psychiatrist, Dr. Stringer (Jared Harris), who also cares for the other girls. She does not find him helpful, although he seems insistent and sincere about helping her. Kristen soon discovers that the staff members are the least of her problems. North Bend is being terrorized by a vengeful ghost, and it is determined to kill all the girls before they get a chance to leave the Ward.

I didn’t find anything in John Carpenter’s The Ward that made me think, “Oh, this is a John Carpenter movie!” other than having Carpenter’s name in the credits. This is an average ghost story and psychological thriller that just about any credible director with professional credits behind his name could have made. The script is not exactly pedestrian, but it mines very familiar territory and is simply reflective of a disappointing production: plodding pace, mildly-interesting characters, and a not exactly memorable killer/ghost.

The great thing about this movie is Amber Heard. She is gorgeous even when her character is dressed in hospital garb and looks beat up. Heard gives a passionate performance that brings energy to this sometimes stiff flick. The Ward does have its moments: in particular, Kristen’s first night at North Bend and the movie’s the last act. The setting is also quite good. If you’ve ever had an extended stay at or visited a mental hospital often, you will recognize the stone-faced orderlies; the pill-peddling, taciturn nurses with their crocodile smiles; and the cagey doctors with their inscrutable statements. That’s enough to send a chill up your spine. Mark Kilian’s musical score also does a lot of the heavy lifting in creating a proper scary movie atmosphere for this movie.

I waited a long time for The Ward, and while it isn’t a bad movie, it just doesn’t seem like a real John Carpenter movie.

5 of 10
B-

Friday, August 19, 2011

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Review: "Junebug" is a Jewel on an Indie Film (Happy B'day, Amy Adams)

TRASH IN MY EYE No. 49 (of 2006) by Leroy Douresseaux

Junebug (2005)
Running time: 107 minutes (1 hour, 47 minutes)
MPAA – R for sexual content and language
DIRECTOR: Phil Morrison
WRITER: Angus MacLachlan
PRODUCERS: Mindy Goldberg and Mike S. Ryan
CINEMATOGRAPHER: Peter Donahue
EDITOR: Joe Klotz
Academy Award nominee

DRAMA

Starring: Embeth Davidtz, Alessandro Nivola, Amy Adams, Celia Weston, Scott Wilson, Ben McKenzie, Frank Hoyt Taylor, and Joanne Pankow

Madeleine (Embeth Davidtz), a Chicago art dealer who specializes in “outsider art,” takes a trip to rural North Carolina with her husband, George (Alessandro Nivola), to convince David Wark (Frank Hoyt Taylor, whose small part is the film’s most memorable), a highly-eccentric folk artist to allow her gallery to show his art. George is not only from North Carolina, but his family lives not too far from Wark’s home.

Madeleine convinces George to finally allow her to meet his small-town family: his bristly mother, Peg (Celia Weston); his reserved father, Eugene (Scott Wilson); his crabby brother, Johnny (Ben McKenzie); and Johnny’s pregnant wife, the sweet and naïve Ashley (Amy Adams). Madeleine has a hard time fitting in, and Peg doesn’t try very hard to hide her dislike or suspicion of Madeleine. Johnny holds grudges against George and is taciturn with Madeleine. To make matters worse, George spends much of the day away from Madeleine, visiting his old haunts and friends, and he begins to revert to his hymn-singing, church-going ways – somewhat to the detriment of his marriage.

Junebug isn’t a great film (it misses that by a lot), but it’s quite good, mostly because of the efforts of director, Phil Morrison. Writer Angus MacLachlan gives us four familiar characters as George’s family, the bitter brother Johnny and the prickly mother Peg being the worse. It’s not so much that they’re stereotypes; it’s what MacLachlan does with them that makes them come across as old hat. Other than in Madeleine, there is no variety in the behavior of the characters. For the most part, they’re stuck in the mud and boring. Every time that there is some glimmer of hope that some breakthrough of depth is about to occur, it turns out to be nothing – stuck in “park.” Poor Celia Weston is like a record that skips, but the script doesn’t give her room to actually perform.

Junebug has three people that make it standout: the aforementioned director and also actresses Embeth Davidtz and Amy Adams. Adams gives one of those splashy performances as a peculiar or unconventional character in Ashley that gets the notice of the critics, and several critics associations and festival awards did indeed honor her for her performance. Ashley is likeable in her frantic need to be liked and in her poor desperation to get husband Johnny’s attention. When Ashley tries to create a bond with Madeleine, Adams makes it feel so real, not phony and desperate, although it initially comes across that way.

However, Junebug is really Madeleine’s story, and if awards must be given for acting in this film, they should have gone to Embeth Davidtz, or at least she should have shared in the glory. As Madeleine, Davidtz (who played a suffering Jewish servant in Schlindler’s List), embodies the film’s themes of family ties and outsiders. Davidtz’s character has to perform the balancing act of dealing with becoming a part of George’s family and dealing with the fact that George is a part of a family outside of her. It’s a culture and a lifestyle that is alien to her. In doing that Embeth gives a warm and poignant performance that guides the viewer through Junebug.

Director Phil Morrison makes Junebug such a compelling film. It’s as if he insisted that the camera drink and drink deeply of the narrative’s setting, as much as it does of the central players. He creates a film the resonates of family, but set in a world that is authentic. It’s not like every small town, but it sure seems like a genuine one. I didn’t like how Morrison has the night scenes that occur inside the house filmed with so little light, but I guess there was a reason for that. We’ll never really know George’s family, but Morrison certainly makes them compelling. Morrison realizes that for the most part, we’re like Madeleine, or at least we’re going to see this world through her eyes. As curious as we are about them, Morrison understands that like Madeleine, as much as we like meeting the kinfolk – those by blood or by marriage, we’re always ready to go home. With Embeth and Amy’s performances, Morrison’s understanding of outsiders and strangers makes Junebug a jewel of an independent film.

7 of 10
B+

NOTES:
2006 Academy Awards: 1 nomination: “Best Performance by an Actress in a Supporting Role” (Amy Adams)

Sunday, March 05, 2006

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Disney's "Enchanted" Thrives on Magical Amy Adams

TRASH IN MY EYE No. 22 (of 2008) by Leroy Douresseaux

Enchanted (2007)
Running time: 108 minutes (1 hour, 48 minutes)
MPAA – PG for some scary images and mild innuendo
DIRECTOR: Kevin Lima
WRITER: Bill Kelly
PRODUCERS: Barry Josephson and Barry Sonnenfeld
CINEMATOGRAPHER: Don Burgess
EDITORS: Gregory Perler and Stephen A. Rotter
2008 Academy Award nominee

FANTASY/ANIMATION/COMEDY/ROMANCE with elements of a musical

Starring: Amy Adams, Patrick Dempsey, James Marsden, Susan Sarandon, Timothy Spall, Idina Menzel, Rachel Covey, Tonya Pinkins, and Isaiah Whitlock, Jr.

What would happen if fairy tale characters that were like those in such classic Walt Disney feature animated films as Cinderella and Sleeping Beauty entered the gritty, urban real world where there aren’t always happy endings – certainly not of the variety found in many fairy tales? Disney’s recent motion picture, Enchanted, a mixture of 2D animation and live action, answers that question. While Enchanted lacks the magic that makes many Disney animated films so beloved and memorable, it does have one bit of excellent magic – the charming Amy Adams as its star.

Princess-to-be Giselle (Amy Adams) lives a perfect life in the wonderful, musical, fairy tale (animated) kingdom of Andalasia, and that charmed life gets even better when Prince Edward (James Marsden) arrives on his white steed to carry her off, marry her, and make her Princess Giselle. Giselle’s dreams come to an abrupt end when the evil Queen Narissa (Susan Sarandon), Edward’s vile stepmother, exiles her to the cold, cruel, real world of New York City, where the naïve girl finds it difficult to get her bearings. Her rescuers arrive in the unlikely form of a cynical and divorced, divorce lawyer, Robert Philip (Patrick Dempsey), and his lonely young daughter, Morgan (Rachel Covey). Giselle soon falls in love with Robert, who is already more or less engaged to another woman, so Giselle has to wonder if her storybook view of romance can win a man in the real world.

Meanwhile, Edward has followed Giselle to NYC, so Narissa sends her henchman, Nathaniel (Timothy Spall), to keep Edward from finding and reuniting with Giselle. However, if you want something done right, you have to do it yourself, so Narissa blows her way into our world determined to put an end to Giselle once and for all.

Anyone familiar with Amy Adams’ from her other movie appearances already knows that she is enchanting. She is magical in Enchanted, and makes this clunky, nicely conceived, but poorly executed concept worth watching. In creating her character, Giselle, Adams gives flesh and substance to the idea of the beloved “Disney Princess,” and personifies the utterly captivating charm and winning personality of a Cinderella or Sleeping Beauty. Plus, she’s a good singer whose bubbly exuberance gives Enchanted’s Alan Menken/Stephen Schwartz songs some needed bounce. Adams makes the Oscar-nominated “Happy Working Song” seem like it popped out of Disney’s Beauty and the Beast, and she turns “That’s How You Know” into a remarkable and memorable love song in its own right.

On the other hand, practically everything else about this film, directed by Kevin Lima (who co-directed Disney’s 1999 animated feature, Tarzan) is mediocre. It would be ironic to say that the dreadful Patrick Dempsey is perfectly cast as the dull and cynical Robert, but maybe the script didn’t mean for the character to be as grey and colorless as the inexplicably popular Dempsey makes him. Sadly, the overrated Dempsey means that the thoroughly talented James Marsden (X-Men, Hairspray) gets less screen time, which is a pity. Marsden makes the most out of a poorly developed character and turns the saccharine ditty, “True Love’s Kiss,” into a fun song.

The great Susan Sarandon is also under-utilized, and her Narissa never reaches the heights of evil that she should, in spite of Sarandon’s best efforts. No, Disney’s Enchanted is a misfire. Perhaps, the film did indeed have a fairy godmother, but the only magic she gave Enchanted was the delightful Amy Adams.

5 of 10
C+

NOTES:
2008 Academy Awards: 3 nominations for three songs by Alan Menken (music) and Stephen Schwartz: “Happy Working Song,” “So Close,” and “That’s How You Know”

2008 Golden Globes: 2 nominations: “Best Performance by an Actress in a Motion Picture – Musical or Comedy (Amy Adams) and “Best Original Song – Motion Picture” (“That’s How You Know”)

Saturday, April 26, 2008

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Negromancer New Bits and Bites for August 19 2011

Stuff I found interesting:

Deadline has the details on anti-Muslin toad, Congressman Peter King's plan to launch an investigation into Kathryn Bigelow's Bin Laden Film.

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Remember Hong Kong Phooey, the 1970s Hanna-Barbera animated series about a mild-mannered janitor-dog who is really masked crime fighter, Hong Kong Phooey?  There has been talk about a movie version going back to the early 1990s (that I remember).  I think the success of The Smurfs film means we'll be seeing more live-action/animation films made of old Saturdamy morning series.

Well, Eddie Murphy will be the voice of Penry the mild-mannered dog in Alcon Entertainment's live-action/animated Hong Kong Phooey.  For those who don't know, the late great Scatman Crothers was the voice of Penry.  Entertainment Weekly has some details.

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Variety reports that Disney is filling out its Summer 2014 schedule with three pictures:  There will be a Marvel Studios movie May 16.  Two weeks later, a Pixar film arrives on May 30.  The second Marvel picture arrives on June 27.  The films are unnamed, but Variety reports that Marvel has a number of projects in development, including a Captain America sequel and an Avengers spinoff.

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Deadline has an exclusive:  After finishing Prometheus, a kind of prequel to his 1979 classic, Alien, director Ridley Scott will return to another of his sci-fi classics.  Deadline is reporting that Scott has signed on to direct and produce a new installment of Blade Runner, with Alcon Entertainment, producing with Alcon partners Broderick Johnson and Andrew Kosove. Alcon apparently gained control of the Blade Runner franchise earlier this year.  There are conflicting reports about whether Harrison Ford, the star of the original Blade Runner will return, with some stating that he won't.

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Huffington Post reports that Will Smith is working on a double comeback.  I don't think Smith needs to come back from anything, but let's humor them for the sake of this story.  Smith is working on his first album since 2005.  He hasn't been in a film since 2008's Seven Pounds, but he is working on "Men in Black 3."  Also, Shawn Levy is trying to get Smith for a remake of the 1966 science fiction film, Fantastic Voyage.

Review: Original "Fright Night" Still a Fright

TRASH IN MY EYE No. 72 (of 2011) by Leroy Douresseaux

Fright Night (1985)
Running time: 106 minutes (1 hour, 46 minutes)
MPAA – R
WRITER/DIRECTOR: Tom Holland
PRODUCER: Herb Jaffe
CINEMATOGRAPHER: Jan Kiesser (D.o.P.)
EDITOR: Kent Beyda
COMPOSER: Brad Fiedel

HORROR/COMEDY/THRILLER

Starring: Chris Sarandon, William Ragsdale, Amanda Bearse, Roddy McDowall, Stephen Geoffreys, Jonathan Stark, Dorothy Fielding, and Art J. Evans

Fright Night is a 1985 horror film written and directed by Tom Holland. A hit at the time of its original release, Fright Night was successful because it was a horror movie that was both scary and funny. This film is about a teenager who discovers that his new next door neighbor is a vampire, but can’t make anyone believe him.

The story centers on Charlie Brewster (William Ragsdale), a mostly ordinary high school boy trying to convince his girlfriend, Amy Peterson (Amanda Bearse), to go all the way and have sex with him. Charlie also has an active imagination and is huge fan of horror films and of Peter Vincent (Roddy McDowall), the host of a local horror movie television program.

Charlie’s active imagination kicks into overdrive when two men move into the empty house next door to Charlie and mother, Judy Brewster (Dorothy Fielding). By chance, Charlie discovers that one of the men, the dark and seductive Jerry Dandridge (Chris Sarandon), is a vampire. Charlie tells Amy and his acerbic friend, Edward “Evil Ed” Thompson (Stephen Geoffreys), but they don’t believe him. The police also ignore him, and even Peter Vincent isn’t buying Charlie’s story. Charlie will need to convince someone soon, because Dandridge and his roommate/carpenter/bodyguard, Billy Cole (Jonathan Stark), are preparing to kill Charlie.

I believe that film spoofs work best when they look like the genre in which they are spoofing. Mel Brook’s Blazing Saddles convincingly looks and acts like a Western, so its skewering of the conventions of Westerns is supremely effective. It’s the same with Brooks’ Young Frankenstein, a send-up of Universal Pictures’ black and white horror films. Fright Night is a genuine horror film, but the screenplay takes so many digs at the conventions and stereotypes of vampire movies – from the way movies depict vampires’ fear of the crucifix to the way movies portray vampires seducing female victims.

Even with its humor and gentle mocking tone, Fright Night is a scary movie. I am old enough to have seen it in a theatre when it was first released back in August of 1985. Fright Night was both an old-fashioned monster movie and a vampire movie with a devilishly alluring villain as the vampire, superbly played by actor Chris Sarandon with cool, smooth arrogance and a dark charm. Fright Night was so different from the horror movies that thrived back in the 1980s. These were bloody slasher movies featuring masked maniacs wielding any kind of implement that could gouge and slash out the most blood from their victims. The young actors playing the victims were not interesting and were merely meat for the slasher film beast.

That’s different in Fright Night. The characters are either surprisingly witty or appealingly silly. I can see why this film has been remade. Every time I watch it, Fight Night works its scary movie magic on me.

8 of 10
A

Thursday, August 18, 2011

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Review: First "Conan the Barbarian" is Still a Beast of a Movie

TRASH IN MY EYE No. 137 (of 2006) by Leroy Douresseaux

Conan the Barbarian (1982)

Running time: 131 minutes (2 hours, 11 minutes)

MPAA – R

DIRECTOR: John Milius

WRITERS: Oliver Stone and John Milius; from a story by Edward Summer (based upon the stories by Robert E. Howard)
PRODUCERS: Buzz Feitshans and Raffaella de Laurentiis
CINEMATOGRAPHER: Duke Callaghan
EDITOR: C. Timothy O’Meara
Golden Globe Award winner

FANTASY/ACTION/ADVENTURE

Starring: Arnold Schwarzenegger, James Earl Jones, Sandahl Bergman, Ben Davidson, Cassandra Gaviola, Gerry Lopez, Mako, Valérie Quennessen, William Smith, and Max Von Sydow

Young Conan (Jorge Sanz) saw his father (William Smith) murdered by a band of marauders who attacked their village. Conan’s mother (Nadiuska) took on the marauder’s warlord, Thulsa Doom (James Earl Jones), in a sword duel before Doom beheaded her. Doom’s soldiers subsequently sold Young Conan into slavery. The intense labor he endures as a slave (pushing a giant grinding wheel) transforms the adult Conan (Arnold Schwarzenegger) into a sinewy, muscular giant. Before long, opportunistic men further transform him into a skilled gladiator, who can outfight any man and probably kill at will.

Conan however becomes a thief. His companions are two mercenaries – the comely warrior woman, Valeria (Sandahl Bergman, who won a Golden Globe in 1983 for “Most Promising Newcomer of the Year in a Motion Picture – Female, an award the Globes stopped giving over two decades ago), and the sword fighter, Subotai (Gerry Lopez). The trio is captured by a grieving monarch, King Osric (Max Von Sydow), whose daughter joined a powerful snake-worshipping cult. His offer of riches to rescue her puts Conan on the path to avenging the murder of his Cimmerian tribesman and family. Osric’s daughter, The Princess (Valérie Quennessen), plans to marry the leader of this cult, which rules the land far and wide, his name – Thulsa Doom, the villain who murdered Conan’s mother. Revenge won’t come easy, Doom wields powerful magic, and his army is many and strong.

Before the age of computer generated effects, filmmakers of fantasy films relied on in-camera effects, hand drawn animation, makeup effects wizards, and mechanical puppets and creature effects to transport viewers to worlds that looked like ours, but were filled with warriors, kings, princess, monsters, and powerful wizards. There were no computer-generated combatants to fill imaginary epic battlefields (as in The Lord of the Rings). Stuntmen and fight coordinators who specialized in martial arts and hand-to-hand combat, animal wranglers to handle horses, prop masters and weapons makers, etc. had to use their wits and skills to create believable battle scenes. Often, the actors and actresses had to get down and dirty and perform their own stunts – do their own fighting.

To direct this kind of film, a producer would have to find a director who is a man’s man, one who made movies for guys – guys who love movies (as the TNT slogan goes). Filmmaker John Milius has spent his career writing or directing (and sometimes both) tough guy adventure epics. His resume includes script writing for Apocalypse Now and Clear and Present Danger. He also wrote and directed the semi-cult classic, Red Dawn.

Milius took on the ultimate action hero actor, Arnold Schwarzenegger, early in the actor’s movie career in the film, Conan the Barbarian. The two work magic. Schwarzenegger isn’t a great actor in the classic tradition of playing a diverse body of characters and burying oneself in those roles. He is, however, a movie star – an actor who really looks like nothing else but an actor when the camera starts filming. Arnold as Conan has more than a ring of truth to it because Arnold has The Presence.

Milius puts it all together. Conan the Barbarian is a fine epic flick filled with burning villages, screaming peasants, murderous marauders, and devious women wielding sex and offering their supremely well-built bodies to men all-too-ready to get laid at the drop of a loin cloth or at the peek of boob flesh. Milius (who co-wrote the script with Academy Award winning director Oliver Stone of Platoon and JFK) gives up little fights, man on man tussles, and superbly staged battles of testosterone-fueled men stabbing, slicing, cutting, and gutting one another; of horses racing, falling, and dying on top of their riders; and of death on the battlefield.

In addition to Schwarzenegger, the rest of the cast also performs well. James Earl Jones is madness personified as the murderous, egomaniacal, and insane Thulsa Doom. Sandahl Bergman as Valeria and Gerry Lopez as Subotai hit the right notes as Conan’s thieves-in-arms. Milius’ crew of technicians, craftsman, and stuntmen also give him a superior effort. Basil Poledouris’ score is picture perfect; very few movies about men with swords fighting each other ever had music so good. Milius takes the Poledouris’ music and mixes it with the rest of his ingredients to create a truly entertaining guy’s fantasy flick. Conan the Barbarian isn’t perfect, but as a sword and sorcery epic, it’s perfect enough.

7 of 10
A-

Wednesday, June 28, 2006

NOTES:
1983 Golden Globes: 1 win: “New Star of the Year in a Motion Picture – Female” (Sandahl Bergman)

1983 Razzie Awards: 1 nomination: “Worst Actor” (Arnold Schwarzenegger)

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Review: "Conan the Destroyer" Goes on an Adventure

TRASH IN MY EYE No. 138 (of 2006) by Leroy Douresseaux

Conan the Destroyer (1984)
Running time: 102 minutes (1 hour, 42 minutes)
MPAA – PG
DIRECTOR: Richard Fleischer
WRITERS: Stanley Mann; from a story by Roy Thomas and Gerry Conway (based upon the characters and stories created by Robert E. Howard)
PRODUCER: Raffaella De Laurentiis
CINEMATOGRAPHER: Jack Cardiff
EDITOR: Frank J. Urioste

FANTASY/ADVENTURE/ACTION

Starring: Arnold Schwarzenegger, Wilt Chamberlain, Grace Jones, Mako, Tracey Walter, Olivia d’Abo, and Sarah Douglas, Pat Roach, Sven Ole Thorsen, Bruce Fleischer, and Ferdinand Mayne

Queen Taramis (Sarah Douglas) makes a deal with Conan (Arnold Schwarzenegger), the Cimmerian who is barbarian, warrior, and thief: accompany her niece, Princess Jehnna (Olivia d’Abo) and her bodyguard Bombatta (the late Wilt Chamberlain, in his first and only film role) to find a precious jewel and key, which they will bring back to Taramis’ kingdom. For that, Taramis says she will revive Conan’s lover, Valeria (who was killed in the film Conan the Barbarian).

Grieving and still madly in love with Valeria, Conan agrees and leads a ragtag group of adventures that includes his fellow thief, Malak (Tracey Walter), Akiro “The Wizard” (played by the actor, Mako, Akiro also appeared in the first film), and a wild warrior woman, Zula (Grace Jones), who escort Jehnna and Bombatta on a quest of find the princess’ treasure. Meanwhile, Queen Taramis secretly plots against Conan and Jehnna, as part of a larger plan to awaken Dagoth the Sleeping God, who currently resides in Taramis’ palace as a reclining marble statue.

Conan the Destroyer, is a lot lighter fare than its predecessor, Conan the Barbarian. Gone are macho men filmmakers, co-writer/director John Milius and co-writer, Oliver Stone. They are replaced for the second film by director Richard Fleischer and two comic book writers, Roy Thomas and Gerry Conway, who wrote the treatment for this film, which screenwriter Stanley Mann apparently changed quite a bit. Fleischer, well known for directing such family-friend fantasy films as Walt Disney’s 20000 Leagues Under the Sea, Fantastic Voyage, and Doctor Doolittle, gives Conan the Destroyer a lighter tone than the first film. It’s silly, but fun – almost cartoonish.

Even in a flick with a lighter tone, Arnold Schwarzenegger is still imposing and fun as Conan. Grace Jones and Tracey Walter’s characters are excellent comic relief (and have some decent screen chemistry between the two of them). The villains are straight out of fantasy pulp fiction and B-movies. Basil Poledouris returns to score the second film, but much of Destroyer’s score sounds like music from Conan the Barbarian. Although the first film is technically a better film (and more of a guy’s flick), I prefer the fun, adventure fantasy that Conan the Destroyer offers.

6 of 10
B

Wednesday, June 28, 2006

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