shobill Reviews

The Black Hole (2006 TV Movie)

Yes, it really is as bad as they say

[3/10 · 15 June 2006]

In this SciFi Channel original, an accident in a nuclear lab in St. Louis causes not only the creation of a black hole, but unleashes an alien creature that feeds on energy. A scientist and his female partner team up with a maverick general to solve the growing menace while the military embarks on a typical blow-it-up solution that could wreak disaster for the world.

I found the idea of a small black hole created on Earth intriguing, and it was interesting watching it eat up everything around it. (So it "can't" happen, but hey, it is science fiction!) Unfortunately, screenwriter David Goodin, who is responsible for "Larva," another TV movie that flopped, again shows himself adept at giving us a general plot and characters who are tired and clichéd. You know, the implausible story of the world-threatening event that is handled by the lone scientist (instead of every intelligent professional in the world) and simplistic government officials who make FEMA look good! Even if we accept this script as a mediocre formula tale, we would hope for at least semi-intelligent dialogue and a director who had some slight ability for pacing. (Tibor Tacaks has, according to IMDb, directed some 28 films, and I don't think any of them rated over 5). Perhaps with such a weak structure, we can forgive the wooden, lackluster acting from a cast who must have figured at least it was a way to make a quick buck.

I'm pretty tolerant of formula sci fi, even when the premise is implausible, but this one is bad even for a TV movie.

Friendly Persuasion: Iranian Cinema After the 1979 Revolution (2000)

Top notch documentary on film

[9/10 · 10 June 2006]

Every time our annual international film fest hits town, I scan all the offerings, with special attention to Iranian productions. I have seen so many fascinating films from a country that, in recent years, has banned Hollywood and other films foreign to them, and yet their filmmakers, despite having to follow strict guidelines and risking censorship at every turn, produce some of the finest films in world cinema.

This documentary features interviews with several Iranian filmmakers, plus clips from a number of their best films. Among various aspects of Iranian film-making, they talk about how their reflective films differ from the Hollywood action variety, although there is such a role for Iranian film as well. What perhaps is really remarkable is how freely these producer/directors talk in a critical way about the censorship exercised in their country. The clever ways they get around it actually appear to challenge and enhance their creativity (as Duke Ellington once said, in describing how he had to compose his music to fit the talents and limitations of his band members, "It can be good to have limits"). Unusual scenarios between husbands and wives get around the rule that men and women, even when married, can't touch. Children are sometimes used to state in an allegorical or analogous fashion what could not be presented by adult characters. And the role of women is wondrously portrayed in these productions from a country that severely limits women's roles.

This film takes concentration to appreciate, but is every bit worth the effort.

March of the Penguins (2005)

Delightful documentary

[9/10 · 17 September 2005]

My woman friend and I were entranced by this excellent little documentary. The unique complexity of the mating and breeding of these Emperor penguins is amazing and moving. At the end I did have questions and longed for more information about these fascinating creatures. A friend commented to me that you could see much the same thing in a TV documentary special (and in fact, National Geographic produced this film). True enough, but this one is worth seeing on the big screen in the theater with an audience. The photography is stunning; I am rarely cold in a movie theater, but the portrait of ice and cold winds made me shiver. Stay for the closing credits and the inset of the photographers with the penguins.

The Boys (1998)

A down under film that rises only meagerly

[5/10 · 8 July 2005]

A young Australian man leaves prison and returns to his family consisting of his mother, his two brothers, and their women. We see a slice of life into a working class dysfunctional family and how the dynamics contribute to the criminal, destructive actions of its members.

That much is quite realistically portrayed and is not much different than what you might find in Europe or America. The only thing uniquely Australian is the very thick Aussie accent, often mumbled by the characters. In case you have as much trouble as I understanding the dialog, and assuming you're seeing this on cable or a recording, turn on the closed caption. The resulting subtitles will greatly enhance your comprehension and enjoyment of the film.

In reading others' comments, I know there are many who really loved this film and found it had a powerful impact. I'm sorry I can't share their enthusiasm. I do like many films in this genre, but this one just didn't do it for me.While it does have its positive qualities, I felt the film ultimately does not deliver very well. The nonlinear sequence is more confusing than enlightening. In addition, creating a sense of dullness and drabness unfortunately often makes this production rather dull and drab. If the subject intrigues you, it's a worthwhile watch. But don't set your expectations too high.

The Aviator (2004)

This one flies high

[9/10 · 12 February 2005]

Howard Hughes was an enigmatic almost mystical flying genius and tycoon, and Scorcese's film gives us a sweeping portrait of the man in all his various sides. This is truly one of the best films I've seen this year. I have always thought that Leonardo DiCapprio, despite his popularity and plethora of unusual roles, has always been underestimated as an actor, and here he portrays Hughes' complex personality with all its intrigue and intensity. The Oscar nominations (final vote not decided at this writing) are all well deserved. The movie is episodic, and my girlfriend would have liked to see more historical context in some of the scenarios. We left wondering at what Hughes, despite his serious mental illness, was able to accomplish, and how much more he might have done had modern treatment been available.

Steam: The Turkish Bath (1997)

Not all that steamy

[5/10 · 30 January 2005]

An Italian man named Francesco inherits am old Turkish bath from his aunt and travels to Turkey to sell it. The ensuing story deals with his involvement with the bath, with the community of people in its milieu, and especially an attractive young cousin Mehmet who stirs his sexual ambivalence in the men's world of the "hamam" (the bath), and the triangle completed by his wife Marta who has her own issues.

I found the earlier parts of the movie to be slow developing, picking up "steam" as the main character begins to discover himself in the culture of the hamam. The film seems true to Turkish city culture from my limited observations after two trips there. The cinematography seems unnecessarily dark and dingy in places where this wasn't needed for effect. The English subtitles show generally good, clear form (not knowing the original languages I can't vouch for their accuracy), although there is a mixture of Italian and Turkish spoken, with some of the characters speaking only one or the other and not understanding each other: all that isn't clear to us, because we just have the English translation in the same typeset.

This film will be mildly interesting if you like the subject matter, and a number of reviewers have appreciated its subtlety and treatment of a changing culture. For me, I'm glad I saw it, but a masterpiece it's not. I'm rating it a 5.

Small Faces (1995)

It rewards those who stay with it

[7/10 · 22 January 2005]

In late-1960s Glasgow, three teenage brothers from a fatherless home in a lower working class neighborhood struggle to survive among the chaos and violence that is part of their subculture. The oldest has serious mental problems and a learning disability associated with his acting out. The middle brother tries to steer clear of it all as he struggles to pursue his artistic talent. And the story is told from the viewpoint of Lex, the 13-year-old, whose childish delinquency becomes serious business when he is forced into adult situations. At the beginning I had difficulty with the heavy Scottish dialect and had some confusion of characters and events, but I was drawn in by the progression of events and the development of the characters. This is a poignant coming-of-age story that rewards us if we stay with it.

Jesus' Son (1999)

Trying to be more than just another drug flick

[6/10 · 8 January 2005]

We are treated to the world as seen from the perspective of a young druggie (Billy Crudup) who repeatedly screws up through his mixture of bungling, passivity, and choice of companions. I frequently found my interest in the narrative and the characters waning, with particular memorable scenes that made it worthwhile to keep a watch. The uniqueness of the main character's perspective is presented in scenes with a mixture of surrealism at times (along with his own narrative that he can't quite remember). This could have made for an interesting production, but at times I just found it irritating. Maybe I've just seen too many loser druggie films and the mostly pointless lives they portray to empathize with these people and their situations, in contrast to the real-life addicts I have known. The film does have its own redemptive conclusion, however, and deserves credit for being more realistic in the way it is presented than we might have anticipated. In fact, the film's clever title may just have a double meaning, with reference to the Velvet Underground song "Heroin" and a semi-spiritual theme all in one; we're all God's children. Just having seen Crudup in Almost Famous, a film made around the same time from a similar period, may have typed him for me in this kind of role, although he was a far more "succesful" character in that far better film.

Almost Famous (2000)

Winsome cast

[8/10 · 8 January 2005]

In an unlikely scenario that is said to be loosely based on fact, an intellectually precocious 15-year-old boy becomes a reporter traveling with a rock band and incidentally forms a relationship with a groupie (or as she and her friends like to put it, "band aid") as he explores many signs of the 1973 music scene. This is a nicely done and mostly funny story due primarily to the winsome characters and well done musical selections. Especially memorable performances include Patrick Fugit as the kid (William) and Kate Hudson as Penny Lane, the "band aid." Billy Crudup does a credible job as the band's leader, and the others provide strong support. The film may fizzle a bit at the end, but I don't think anyone who likes classic rock and a good story will be disappointed.

Final Destination (2000)

Not an in-flight movie

[7/10 · 30 December 2004]

Well, they won't be showing this one as an in-flight movie! A flight-phobic teenager (Devon Sawa) begins having premonitions and insights to a pattern in the way death comes to individuals. As he begins to predict who among his acquaintances will die next, he and his friends try to intervene to break the pattern. It is a captivating concept, and the grisly deaths and disasters are spectacularly portrayed. Credibility is strained with some of the characters and their reactions, and this is a serious flaw in what otherwise is an intriguing story. Apparently, it was successful enough to spawn a sequel (Final Destination 2, 2003). All in all, it is well worth the watch.

A Twist of Faith (1999)

Weak-flavored twist

[6/10 · 25 October 2004]

A cop dealing with his own mistake resulting in a partner's death and loss of faith is on the trail of a serial killer who has some obsession with the Catholic church. Many of the standard themes are there - cop has trouble with supervisor, his own family has trouble, early leads are blind alleys, a special relationship develops between the crook and the cop who hunts him, etc.

There are a few departures from formula as if the film seems to know what we're expecting and chooses to give us that or surprise us with a twist we weren't necessarily expecting. In general, this is certainly not a great movie but entertaining enough to see it through.

The Patriot (2000)

What it does it does well

[8/10 · 20 October 2004]

In true Gibson style, Mel plays the leader of an American militia during the Revolutionary War and realizes his heroic role through terrible suffering and heartache. It is a very familiar theme, played in countless other films: former war hero tries to live a peaceful life with his family, attacks on him and them force him back into service with a vengeance, and while we know the eventual income (it's no spoiler to note that the Americans did eventually defeat the British and form a new nation), we are drawn into the personal drama of what happened to this particular patriot and those close to him. In many ways this film is formula: several British officers - the enemy - are presented unidimensionally as either stereotypically pompous or inhumanely evil, along with an oft repeated general storyline. Nonetheless, like any good war film, this one ends up saying things about all wars - the suffering of the common people at the hands of a ruthless invading military, the loyalty of comrades to each other as much as to their country, the sense of duty above all else, and more. Interestingly, I found myself drawing parallels to more current wars, namely Vietnam and Iraq, only in this case it is our forefathers (and mothers) who were the victims of an invading army in which ordinary soldiers were neither good nor bad men, but just soldiers. Many people will see this film as little more than another example of the Gibson prototype (although he is the lead actor, not the director) following tried and true Hollywood formulae. But that having been said, it is entertaining, full of action, and moving, and what it does it does very well.

Titus (1999)

Worth the time

[8/10 · 16 October 2004]

Director Julie Taymor has added another film to the list of modern renditions of Shakespeare's plays. 'Titus" is a true horror story whose terror is graphically portrayed on the screen in a way difficult to imitate on stage. Other reviewers have been put off by Taymor's collage of visuals, which seem to lack consistent direction or theme. We start with Young Lucius (Osheen Jones) in a modern house playing with war toys and suddenly interrupted by violent explosions outside, when Titus (Anthony Hopkins) rushes in to save him and transports him to a place that is an odd mixture of old world Roman architecture, mixed ancient and modern dress, and an assortment of ancient and modern machines and weapons. The boy, prominent in the opening minutes, observes for a time and disappears again, surfacing considerably later as part of Titus' entourage. 'Titus" is not one of Shakespeare's best known plays, and I confess I was unfamiliar with it until seeing this production. Perhaps if I had another standard of comparison, I would be as negative as some of the reviewers. But despite the hodgepodge, maybe even because of it, I enjoyed this production.

The visuals kept attention constant and the Shakespearean language, which I often find difficult to fully absorb in the beginning, soon became second nature as I was wrapped up in the story.

Anthony Hopkins in particular does stellar performance as the seemingly half-mad general Titus Andronicus, who spars with the emperor even as he vainly attempts to placate him. The message is clear: when good attempts to compromise with evil, evil will win out and the good will suffer. For me, this film was definitely worth the time.

Restoration (1995)

Lush period piece loses focus

[6/10 · 25 September 2004]

Director Michael Hoffman presents us with a lush period piece of 1660's England during the reign of Charles II after the restoration of the monarchy. Robert Downey Jr. plays a young doctor who is driven to find his calling through circumstances and women, and the king himself, who drive him. There is a strong cast and beautiful photography: no wonder this film won Oscars for its visuals. The story line loses power because of its wavering focus - although if that clearly reflected the main character's own journey, perhaps that would not be such a weakness. The plague, the London fire, the environs of the time are richly portrayed: so are the women and the sex, belying the film's opening statements that it is about a man of science bringing reason to his times. It's certainly worthwhile but doesn't deliver its potential.

Harry Potter and the Prisoner of Azkaban (2004)

Darker but still magical

[8/10 · 19 September 2004]

If this third installment of the Harry Potter series doesn't quite match the magic of the first, it's because - well, this is a sequel, and the 'magic" no longer surprises quite as much. While it has to be selective due to the fact the novels progressively get longer, this production remains faithful to the book. Alfonso Cuaron as the new series director has been given credit for adding a more substantive darker side and concentrating a bit less on special effects. Regarding the former, the material itself calls for a more grown-up story: the kid characters along with the actors are maturing, and their coming into full-fledged adolescence demands sterner character. There are humorous scenes, but the general tone is more serious, as in fact it must needs be, and Daniel Radcliffe, for one, shows himself quite capable of serious acting as Harry continues to discover his identity. And isn't that Eriksonian quest of youth in fact the real theme of Rowling's series? It looks like most of the cast will be back for the fourth installment: we'll get to see them grow up at least once more.

Sleepy Hollow (1999)

Depp, not Disney (and Burton)

[6/10 · 19 September 2004]

Based very loosely on the literary legend and set in 1799 New York, Ichabod Crane goes searching for a serial murderer who beheads his victims and is said to be a Headless Horseman who himself has no head. Johnny Depp is as usual well cast for this quirky role and there is good support from less well known actors (although the Headless Horseman is played by Christopher Walken. Interestingly, he looks a little like Depp). But this Tim Burton rendition tries to be very complex in plot and character with unusual and original spins, yet ultimately fails to deliver. The brave Ichabod inexplicably has certain phobias which do not play consistently and a troubled past that we can only guess about from his surrealistic dreams. The love interest is rushed - we wonder where Depp's character gets his passion. In a Showtime post-interview he talked about how he based Ichabod Crane on several characters from the classics and horror films of old. That comes through but finally fails in integration as does Burton's convoluted story. Effects and entertainment are there, but we are hoping for something more and we don't get it.

The Green Mile (1999)

Another Stephen King prison redemption

[10/10 · 19 September 2004]

Stephen King wouldn't write an ordinary prison story (though staying in the realm of the natural, Shawshank Redemption certainly wasn't ordinary), and this film adaptation of his serialized novel shows it. Set in a southern Depression-era prison (as an extended flashback), a humane prison guard captain on Death Row (Tom Hanks) encounters the miraculous healing powers of a seemingly simple-minded, illiterate, but huge black inmate named John Coffey, portrayed in a break-through performance by Michael Clarke Duncan, convicted of raping and murdering two young white girls. We know this man wouldn't deliberately do such a thing, but there is little predictable and much original in the unfolding of events both in the prison and in the lives of all those who come in touch with this unlikely, gentle healer. In its own way this fim too is "redemptive." A superb supporting cast makes this film, which never drags in its three-hour tenure, truly top-rate.

Being John Malkovich (1999)

An offbeat success

[8/10 · 19 September 2004]

Offbeat is hardly the word for this truly unique production. An out-of-place marionette maker and master is forced to take other work in a weird decidedly surrealistic office and discovers a portal into the mind of the actor John Malkovich. As he shares this discovery with others in his life, a whole series of events mushrooms which asks myriad questions of identity, gender, relationships, and age. A real John Malkovich and pal Charlie Sheen play themselves, although John is not necessarily living his 'real' life. A menagerie of other characters make those in The World According to Garp look mundanely normal. There are plenty of loose ends, but at times this satirical, genre-defying film borders on greatness. It's definitely a worthwhile watch for those who ponder.

Fight Club (1999)

Vicious, surreal, and brilliant

[9/10 · 11 July 2004]

I thought I knew the premise of this film: men forming an

underground fight club to get back to the basics of raw, visceral

`manhood" in our regulated, civilized society. Well, it was about

that, plus much more. In what is actually a deeply satirical and

surreal tale, Edward Norton plays a young put-upon corporate

office hack into our modern consumer culture but vaguely unhappy

with his life and attending a multitude of support groups, even

though he doesn't share the other members' situations, until he

meets an offbeat soap seller (Brad Pitt) on a train and they

accidentally exchange suitcases. The two end up living with each

other and in a rather bizarre manner, which just gets stranger as it

goes, fight each other for stimulation and form a fight club which is

soon joined by many willing others. Adding to the intrigue is the

interest of Norton and Pitt in another offbeat character Marla, well

played by Helena Bonham Carter. Also notable is Meat Loaf's

character Robert Paulson, a big man who developed feminine

breasts after a bout with testicular cancer. The film is certainly not

just about the fighting, which doesn't even begin until a half hour

into the movie, although there is plenty of vicious raw flesh and

blood grappling and crunching to satisfy all but the most sadistic

fan. Rather the story develops into even more surrealistic twists to

several surprises at the end much of which I could not predict. The

story is so unique, even if the theme is not, that you can easily

forgive the reality lapses. I'm giving it a 9 out of 10.

Possessed (2000 TV Movie)

Well acted and involving: but who borrowed from whom?

[8/10 · 10 July 2004]

This Showtime original would just be a moderately budgeted

Exorcist variation, except - it is based on the original incident which

inspired The Exorist. (For this reason, it is incomprehensible to

me why some people here are calling it an `Exorcist ripoff.") I found

it engrossing and entertaining, but I had some problems with the

premise. The film purports to be based on the only possession

case in modern America, but in fact it changed the original story in

many key ways. The original event took place with a 14-year-old

boy in 1949; the film has an 11-year-old boy in the early 1960s.

The date change gives the film an opportunity to talk about Vatican

II-type changes taking place in the Catholic church, along with

Kennedy's election and the civil rights movement. These are

meant to spice up the movie but are mostly irrelevant to the theme

and take away from the story. Dramatic horror-type events ensue

that we expect with possession movies, but now I'm left wondering

which events were mostly true to the event (in an afterword, one of

the original attending priests did say a bottle of holy water went

sailing past him), and which ones were post-Exorcist inspired.

Thus, while this story was supposed to inspire The Exorcist, we

now wonder who borrowed from whom.

All this is saved rather nicely by an intriguing storyline, but in

particular, superb acting by the principals. Timothy Dalton plays

Father William Bowden (which was the priest's actual name), the

priest-professor-exorcist: this, far more than James Bond, is his

type of role. The boy `Robbie" is extremely well acted by young

Jonathan Malen; he plays a more active demon-possessed

youngster than Linda Blair, who was admittedly more spooky, did

decades ago. Other notable performances include Christopher

Plummer as Archbishop Hume and Piper Laurie as Robbie's old

Aunt Hanna. So I count myself among those who thought this a

worthwhile film, especially knowing that it was at least

semi-factual and leaves you pondering what possession really is,

although I would have preferred the real story without the

embellishments. This story reminds us how unfamliar the whole

concept of possession was to Americans prior to the Exorcist. I'm

giving it an 8.

Stigmata (1999)

Fair entertainment, bad theology

[5/10 · 5 July 2004]

Ever since The Exorcist, we've seen this familiar theme: an attractive young woman who hasn't been religious falls under the spell of some foreboding force, and a priest who can't decide whether he's dedicated to faith or science tries to help. It's been done well, but this film doesn't cut it on a number of grounds. The story is involving enough: a young hairstylist (well cast with the beautiful Patricia Arquette) receives a dead priest's rosary that her mother picked up as a souvenir in Brazil. She then starts exhibiting unexplained wounds and 'seizures" which become identified as stigmata, wounds of Christ in a few gifted faithful believers. Those hoping for an insightful look into the real stigmata, thought by many medical researchers to be psychophysiological phenomena when they aren't faked, will be disappointed. What we get is a familiar theme involving possession with all its effects as well as the uncovering of a plot by church officials to hide secret ancient writings that might challenge the authority of the church. Catholic dogma and Christian theology in general is massacred here: the filmmaker pretentiously tries to justify it by a closing credits reference to The Gospel of Thomas, a second-century Gnostic writing similar to other alternative gospels known and rejected by orthodox Christianity since the beginning. The plot eerily anticipates The DaVinci Code, but there is no conspiracy here. If you're looking for a fictional film that seriously explores stigmata and related phenomena, don't waste your time. If you're a fan of the genre, the story has enough twists and intrigue that you may be mildly entertained. I probably should give this one a 4, but as a movie fan who tends to be generous with my ratings, I'm scoring it a 5.

eXistenZ (1999)

Matrix-lite

[6/10 · 3 July 2004]

With shades reminiscent of The Matrix (both were released in

1999 and I'm not sure which was first), we are placed in a

near-future time in which virtual gaming now incorporates a

biological pod connecting directly to the person. A brand new

game `Existenz" is introduced, but before it can get started, its

creator (Jennifer Jason Leigh) is attacked by a malcontent or

perhaps conspirator. She and an employee (Jude Law) take off

and hide, while she tries to introduce her new employee to the

game to save her biopod. What they encounter along the way is

such a mixture of reality and game that neither we nor they can tell

the difference, which is pretty much the point of the film. In fact,

when Law's character at one point complains that the game lacks

rules, structure, and sense, Leigh's character replies that it not

only sounds like her, it sounds like reality. It's obvious the film

attempted to keep a low budget (although incomprehensibly,

Willem Dafoe is used to play a relatively minor character), and

there's probably more emphasis on slime than necessary to

mask the lack of more spectacular effects. Nonetheless the film is

entertaining and at least lightly thought-provoking, even if the

theme is not all that original.

Eyes Wide Shut (1999)

It's about love and commitment, not sex

[8/10 · 27 June 2004]

Tom Cruise and Nicole Kidman in steamy scenes is the hype that

sold this film, along with the promise of nearly hard-core porn in

an artsy Stanley Kubrick production. At least in this American

version (I've read the European edition is more explicit) the sex is

not actually that graphic, although Nicole does use the `f" word a

lot. But that's not really the core of this film at all. Cruise and

Kidman play a couple, Dr. Bill and Alice Hartford, who are nicely

settled into their nine-year marriage and young daughter, but, we

find, they fantasize about adventure and forbidden sexual territory.

It starts with Alice's indirect and maddening musings about the

relationship which Bill perceives as dissatisfaction and criticism,

but after a chance meeting with an old med school chum, he

discovers an occultish sex club that pushes the limits of reality and

terror. Behind it is really a morality tale that, after all, makes a

strong statement about love and commitment. This nearly

three-hour long production might have been improved by tighter

editing, but it is not at all tedious, and the overall effect is powerful

and memorable. I rated it 8 out of 10.

Raising Helen (2004)

Entertaining, underrated family film

[7/10 · 19 June 2004]

What can I say about this Garry Marshall family comedy-drama? I liked it. I had some trouble getting involved at the beginning, but pretty soon the story had some meat and took hold, especially at the point that Helen (Kate Hudson), a young jet-setter who works in a high fashion agency, inherits her sister's three children. After a dubious beginning, she moves to Queens and enrolls them in a Lutheran school, though she knows little about Lutherans and probably little about church. A friendship and possible romantic involvement with the young pastor/principal (John Corbett) soon ensues, along with difficulties especially concerning the teenage daughter, who gets involved with the wrong crowd. I particularly appreciated the positive portrayal of the church and pastor, for the most part refreshingly outside the Hollywood stereotypes that often prevail. Good performance is also provided by Joan Cusack as Helen's older, pregnant sister who is puzzled as to why the kids were not bequeathed to her. Okay, I have a confession. This would not have been a must-see film for me: I saw it primarily because my good friend Wes Horton had a bit part in it as Gary Hagelnick, a delivery boy recruited for modeling, and it was fun to see him in the role. However, this film is better than it has been rated, despite my my general apathy toward the genre. There is absolutely no justification for the PG-13 classification: this is good, wholesome family fare suitable for all ages.

The Chaos Factor (2000)

Can't decide what it wants to say

[5/10 · 27 March 2004]

The film starts out with an interesting premise but disappoints as it progresses. The situation from the Vietnam War that starts us off is compelling enough, but the story then goes off in several directions and can't decide which one it wants to develop. As other reviewers have noted, it recycles themes from several other movies and in the end almost becomes predictable from its reworking of these plots. I kept expecting to see Jon Voight (a la "Odessa File"; if you've seen it, you'll figure out why) pop out but had to settle for the mostly unknown cast. Despite this, the movie is fast paced and full of action and presents mild, if not very mindful, entertainment.