The Big, Fat Disappointment: SIN CITY: A DAME TO KILL FOR (2014)

Took me a while but I finally saw A DAME TO KILL FOR. Loved SIN CITY (2005). Really wanted to see this one. Bad word of mouth made me shelve it for a bit--didn't want my heart broken--but some mechanical troubles last night left me with some time on my hand--my computer has a condition--so I popped it in and gave it a once-over.

SIN CITY cost forty-million bucks and made a nice pile of green for an R-rated pic. Creators Robert Rodriguez and Frank Miller managed to spend $25 million more on this one and couldn't even make back their budget.  A DAME TO KILL FOR is mostly empty and uninspired--not worth killing for at all and trying to thrill on autopilot on her last call after a long night. The pieces are all there--tough guys, beautiful dames, grifters, grafters, mugs, pugs, thugs, gore, cynicism and darkness--but it's all just style without much of the fun. Few sparks. Nothing holding it all together. The extra dough (for a lot shorter show) seems to have bought a lot more computer graphics than the original had but little else. The near-decade of technological advances between them sure as hell isn't apparent--everything looks way cheaper than it did before. Mickey Rourke's Franken-Marv makeup is slapped-on and crude this time around and not in any good way. Jessica Alba is still playing what's supposed to be the hottest number in town as a stripper who makes it a point to never strip. There are no less than three assaults on the heavily armed compounds of rich assholes, two featuring Marv and two as the climactic setpieces of two of the film's three longer stories. The graphics are on overload, to the point of becoming quite overbearing. Badly CGI'd cars go up CGI'd winding roads over and over again. Bodies and parts of them fly through the ether. While the violence in the original was gleefully profuse and over-the-top, it always had a point; here, it's even more over the top but the glee is most definitely gone, and a lot of it--maybe even most--is just gratuitous. There for its own sake. And even with all its blood and thunder, A DAME TO KILL FOR manages to be pretty damn dull. Not boring, just mostly uninteresting. Quite a trick.

Eva Green one-sheet
banned by the MPAA.

It ain't all bad though. A lot of what I've just been bitching about gets in the way of what are, at heart, some pretty good stories. "Just Another Saturday Night" is a throwaway piece that doesn't really go anywhere, and "Nancy's Last Dance" is pretty forgettable--more like a highlight reel of a bunch of stuff we've already seen--but "The Long, Bad Night," about a gambler who earns immortality by showing up the most powerful man in Basin City, is a keeper, and the title story "A Dame To Kill For" is definitely the highlight. Its pacing often sucks--the style fucking up the substance--and all the other shit weighs it down but it has a killer cast--as does the entire picture--and most importantly, it has Eva Green. Manute, her maniacal, superhuman manservant, describes her character (Ava) as a goddess who enslaves men to her will. Robert Rodriguez reportedly wanted Angelina Jolie to play the part and she was the obvious model for the comic original but for whatever reason that didn't work out, which is just as well. When it comes to goddesses who could enslave men to her will, Eva Green will do just fine. Gotta' fess up, I'm a big fan, and of all the Sin City comic tales, "A Dame To Kill For" is probably my favorite. The screen version doesn't live up to it and yeah, that's disappointing after how well the first film's adaptations were handled, but it's far from terrible.

For that matter, the movie isn't really terrible. A lot of critics burned it all to hell like it was something personal with them. Maybe with some of them it was--they didn't like the first one and it was great and made a pile of dough anyway, so they doubled down on this one. Can't say it doesn't earn some abuse. It should have been a lot better. As it is, it's, Eva excepted, depressingly middling. An overpriced monument to the declining powers of its creators. Not a complete failure but no getting around it, it was the Big Fat Disappointment.

--j.

The Many Devils of DAREDEVIL (2003)

Earlier today, Netflix released the first substantial trailer--a glorified teaser, really--for their upcoming series based on the Marvel comic Daredevil. The initial reaction from online fandom seems to be one of excitement and even glee of a most giddy character. I've been a DD fan myself since I was but a wee lad, but in general, I tend to be more cautious in my optimism for such projects. Still, I'll readily concede that I'm quite pleased with what I saw. If the tone of the trailer reflects that of the series, we may have a winner on our hands.

This will be DD's second screen adaptation and after what happened with the first, that he's getting a second chance is something akin to a  miracle. The release of the new trailer seems as good an opportunity as any to conduct an autopsy on the corpse that is that previous outing. And "corpse" is the right word for it. DAREDEVIL (2003) was a spectacular failure, a near-complete creative abortion. The comic on which it was based is packed with literally years of great--and wonderfully cinematic--plot material that could have been adapted to the screen. Where did a film with so much potential go so terribly wrong?

One place it didn't fail was at the box office. The studio, which had tried to shape the film into a Summer blockbuster tentpole, eventually assigned it a Febrary release, a traditional dead-zone for moviegoing where big films are exiled when the moneymen have no confidence in them.[1] The idea is to allow a movie the chance to become the king of a substantially smaller hill rather than quickly wash out and disappear in the torrent of a more competitive season. Sometimes it works. DAREDEVIL was one of those times. On a budget of $78 million, it managed to draw nearly $180 million, a victory due less to its merits than to the fact there was little else showing.[2]

It would be the film's only success.

When DAREDEVIL was in development, Mark Steven Johnson reportedly lobbied hard to get the directing assignment. That he eventually landed it is still baffling. His only previous directing experience was an insipid children's movie he'd ground out 5 years earlier (SIMON BIRCH). He is, by his own description, a comic fanboy and perhaps it was felt a fanboy could understand the material. Johnson succeeded only in proving that being a fanboy doesn't translate into talent as a cinematic storyteller.[3] It did, however, contribute to the royal mess he made of this film. I could unlimber my rhetorical arsenal and be quite extensively unkind in my assessment of Johnson but his film speaks to that louder than any tirade I could unleash. His shortcomings are painfully obvious in every frame. DAREDEVIL was doomed from the moment he landed the director's chair.

Johnson also wrote the screenplay for the film, which went over about as well as his direction. Instead of trying to tell a single story well, Johnson the fanboy tried to cram in years worth of material from the comics featuring the rather complicated central character, whose origin and later m.o. had to be established, Elektra, DD's college love who becomes his adversary, the Kingpin, the ultimate crime-boss of New York who becomes DD's greatest enemy, Ben Urich, a reporter who learns DD's real identity and becomes an ally, Bullseye, DD's mutant arch-nemesis, and so on. The result is an unfocused mess, a virtually plotless, completely illogical spectacle of would-be colorful characters crashing into one another.

The direction of the actors shows the same lack of focus. Ben Affleck, essaying the title character, has, in the years since the film's release, gotten a lot of abuse for his performance but I'm inclined to be a lot less critical. Actors can only do so much; beyond a certain point they're at the mercy of the script and of those behind the camera. The performances of Affleck and the other cast members are all over the board, veering wildly from entirely naturalistic to absurdist camp melodrama with no effort at a consistent tone. Joe Pantoliano as Urich and Colin Farrell as Bullseye offer the only two performances that are internally consistent from beginning to end, but they're at opposite poles that represent the film's extremes. Pantoliano is a down-to-earth guy who plays his relatively small part straight and to the point. Colin Farrell mugs, spouts ridiculous dialogue in a way-over-the-top-of-the-top manner, bounces around on wires--his character seems as if he's come in from an entirely different movie and every second he spends on screen is a painful embarrassment.

The studio suits made all of this much worse. In the wake of SPIDER-MAN's phenomenal success in 2002 they wanted to ape that film by piling on the CGI and filling the movie with lots of ludicrous wirebound action scenes--things Spider-Man could probably do but that DD most certainly could not. So instead of a Jet Li in a red suit--the only thing you really need to do Daredevil--we get DD the super-grasshopper who can leap tall buildings in a single bound and drop 40 stories off the side of a building, land on his feet and just keep going.

DAREDEVIL is another one of those productions about which I'm loath to say anything particularly positive merely because doing so risks leaving the false impression that there's any significant merit in it. In its favor, I will allow that the film's visualization of DD's "radar" is well done; there is an undercurrent of violence and nihilism in portions of the film that is appropriate to the material, some awareness of the romanticism of the Daredevil character; some of the music, particularly the two Evanescence turnes ("Bring Me To Life" and "My Immortal"), suit Daredevil--at least considered generically--remarkably well.

After the film's release, Johnson prepared a significantly longer director's cut. This second release is undeniably a better film but its merits have been absurdly overstated in some quarters. It's not the vast improvement some will assert. Comparing it to the theatrical cut is like making the argument that this pile stinks a bit less than that pile over there--it may be true, but you don't really want to step in either. After Johnson's film (and the even-worse follow-up ELEKTRA), Daredevil is extremely lucky to be getting another chance. It took 12 years and Marvel finally reacquring the screen rights to see it through but if today's teaser is any indication, the new series seems to be on the right track. Hopefully, it will be as good as it feels right now and will leave this film, at the moment the title character's greatest exposure to the larger public, a fading memory.

--j.

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[1] The current-in-the-works Batman/Superman film was recently moved back to this same period--read into that what you will.

[2] And even at that, it was only the 2nd biggest February release that year.

[3] He hasn't developed any of that in the years since DAREDEVIL either.