Criterion Sunday 423: Walker (1987)

Alex Cox certainly makes distinctive films. I’m not sure that they always gel with me, as I have a sort of in-built resistance to the carnivalesque and maximalist spirit he has (along with, say, Terry Gilliam). But I can’t fault Cox’s determination to bitterly present a satirical view of American involvement in central America, spurred by the contemporary exploits of such hucksters as Oliver North, and the film does everything it can to collapse one into the other. The mid-19th century setting increasingly becomes indistinguishable from the modern day as cars and helicopters, US tabloid news magazines and other anachronistic features start to become impossible to ignore. In the midst of all the pyrotechnics and madness is a very undemonstrative performance from Ed Harris, a tall blue-eyed blond man in a tailored black suit whose very stillness and composure in the midst of everything helps him stand out and grounds all the madness that swirls around him.


FILM REVIEW: Criterion Collection
Director Alex Cox; Writer Rudy Wurlitzer; Cinematographer David Bridges; Starring Ed Harris, René Auberjonois, Richard Masur, Peter Boyle, Marlee Matlin; Length 94 minutes.

Seen at home (DVD), Wellington, Friday 7 May 2021.

Criterion Sunday 108: The Rock (1996)

The Criterion Collection hit an early nadir with Michael Bay’s bombastic world-destroying Armageddon (1998) — I imagine some people even consider this the worst film in the whole collection (though for me, so far, it’s Chasing Amy, sorry Kev). So it’s fair to say my expectations weren’t high for the film Bay made just before it, The Rock. That said, there are no more of Michael Bay’s auteurist Gesamtkunstwerken in the collection, so I need never watch another of his films again, and perhaps this buoyed me into actually — a little bit — enjoying this festival of silliness. That said it might just as easily be the presence of Nic Cage, an admittedly unreliable but off-the-wall star (still holding it in a little, as he was wont to do at his awards-feted mid-90s height), or the steadying effect of Ed Harris and Sean Connery, two fine screen actors. I didn’t believe for a moment any of the plot contortions that see Ed Harris’s rogue military man take over Alcatraz and threaten destruction on the people of San Francisco — events that lead to Cage and Connery’s involvement. Indeed, I feel little interest in recounting these here. Twenty years on from its release, you’ll have seen the film already, or you’ll have decided not to bother with it, and who am I to criticise your decisions, borne of a cultural awareness hard-won for all of us labouring through those squalid trenches of mainstream blockbuster moviemaking. Still, if you were forced to see it — let’s say, if you were watching the whole of the Criterion Collection from earliest to most recent — then you could do worse. And, after all, how can you ever appreciate the austere rigours of arthouse at its most steely if you don’t also watch the popcorn-munching chemical-warfaring action nonsense too.


FILM REVIEW: Criterion Collection
Director Michael Bay; Writers David Weisberg, Douglas S. Cook and Mark Rosner; Cinematographer John Schwartzman; Starring Nicolas Cage, Sean Connery, Ed Harris, John Spencer, David Morse; Length 136 minutes.

Seen at a friend’s home (DVD), London, Sunday 7 July 2016.