Red Planet - Arrow 4K

Back in 2000, one of those Armageddon / Deep Impact situations happened and we were blessed (?) with competing Mars movies with Brian De Palma’s Mission to Mars and Antony Hoffman’s Red Planet. I was certainly more excited about De Palma’s movie, but I came away very disappointed with the PG-rated organ-heavy debacle (though I now want to re-visit it and see how it’s aged). This soured me on Mars, and I waited for the DVD release of Red Planet, especially since it bombed both commercially and critically. When I finally checked it out, I remember being pleasantly surprised, but all I can truly remember is that, of the two Mars movies, Red Planet was better, but that wasn’t saying much. Now with the new Arrow 4K release, I thought it was time to check it out again.

My initial response is very much the same. This is completely okay. It’s weird how okay it is. Normally a “mission to save the human race” movie has lofty ambitions, but this felt more like a character study of a small group of astronauts that got hijacked into being a big blockbuster. So there are glimpses of interesting character moments and bits of grand space opera stuff, but not enough of either to add up to much. Red Planet is a success simply because it doesn’t take big swings that it knows it can’t connect with. To keep the baseball metaphor going, it’s a walk. Cool, we’re on first base, but so what?

Doing a bit of research and checking out the interviews included in the special features sheds some light on the situation. Apparently, Val Kilmer and Tom Sizemore grew to hate each other so much that they each had restraining orders filed, and they refused to film scenes together. This was a big problem since (SPOILER alert) the final third of the film finds the two as the sole survivors on Mars. Beyond that, Kilmer was difficult in general, showing up late and arguing about what his character would say and do. 

This would be commercial director Antony Hoffman’s sole feature, and it’s easy to see why. In the interviews (which Hoffman did not contribute to, unfortunately), it is implied that he thought he was making the character study in space, but it got turned into a Mars movie. That makes sense as it would have been nice to have another ten to fifteen minutes on the ship, but the film is in a hurry to get to Mars. This is understandable, but it does make for a more shallow film.

Despite the shortchanging of the characters (especially Carrie-Anne Moss, who is presented at first as the star, but is relegated to floating around away from the action for the whole movie), the cast still makes it work. There’s no evidence on screen of any feud between Sizemore and Kilmer, and they’re individual performances, while not career best, are still fine. Terence Stamp’s screen time was largely lost to deleted scenes (which are included on the Blu-ray), but even with his little screen time, he makes an impression. 

As for the story, it was actually kind of a relief that the mystery of failed previous missions didn’t end up being vicious alien creatures. Instead, it was vicious alien bugs. I don’t know why, but that worked more for me than some monster-type shit. And it’s not like the whole movie is about evil bugs. There’s a progression of issues. First, there’s the botched landing (which leads to an unintentionally hilarious moment with Benjamin Bratt refusing to admit fault like some kind of “pussy”), this leads to the prospect of the survivors dying from lack of oxygen, then the dog-like military-turned-scientific robot AMEE (think CASE and TARS from Interstellar) goes Predator on the team, and finally the evil bugs show up. Yes, it’s busy, but at least the movie never gets bogged down with repetition.

The fast pace of the film is what worked the best for me this go around. For example, as soon as they land on Mars, Stamp realizes he has internal bleeding and will only slow down the team if they have to carry him. He convinces them very quickly to leave him behind, and they do so with little argument. At first, I thought there should be a bigger emotional moment, and maybe there should. But if we’re looking at this from a scientific “every second counts” space movie, then it makes sense that the team would be that quick to carry on. 

None of this adds up to some unappreciated classic (even the people interviewed for the special features acknowledge it’s not great [hell, the costume guys admits he might not have ever watched the whole movie]). But it’s worth re-visiting, especially with the passing of Sizemore, Kilmer, and Stamp in recent years. And it still beats Mission to Mars…I think.

The Transfer

Restoring films like this to 4K glory is a double-edged sword. On the one hand, the Mars segments look fantastic, and this is obviously the best this movie will ever look. On the other hand, the visual effects of the time look extra 2000-ish. In their defense, the visual effects were botched and a new crew came in very late in the game. But some of it is a bit distracting.

Special Features

The interview with the special effects guy (Jeffrey Okun) was enlightening. It does not surprise me that he was brought on late and was solving problems more than creating things.

Okun confirms the Kilmer/Sizemore rift. It turned into a visual effects issue since they refused to work together, and they had to figure out how to combine their performances on screen like it was a twin movie or something.

He claims Kilmer was a much bigger pain in the ass than Sizemore. In his words, “a billion times” more of a pain. And if a scene didn’t show Kilmer's face, odds are it's his stunt double.

The suit and helmet guy, Steve Johnson, is entertaining enough, but he ends up going on and on about how great AI is at the end. I mean, he's definitely right about how it's going to be more and more prevalent whether we like it or not, but he doesn’t have to be so fucking giddy about the prospect of never having to deal with humans again in visual effects.

Deleted scenes are Stamp-heavy, explaining why his role seemed so small. It was because most of his scenes were cut to get the film to Mars faster. 

Random Thoughts / Favorite Quotes

“By 2025, we knew we were in trouble.” Yup.

Totally believable that Kilmer and Sizemore would be the two astronauts making booze.

I like how they don't boo-hoo too much about leaving Stamp behind. 

“I don’t need forgiveness from a pussy like you.”

"Tombstone" - 'Tom Mix wept' and other reasons why I love this western.

As always, I write these articles under the assumption that you’ve seen the movie, so...SPOILERS. But if you haven’t seen Tombstone, how have you ended up on this page?

The birth of my second child put a bit of a delay on my monthly output for the site. I originally planned on getting this movie, Ace Ventura: When Nature Calls, and one more random selection before the end of June as part of my plan for a Van Damme, a western, a comedy, and a grab bag selection each month. Hopefully I get back into some form of a routine (not sure that’s possible with an infant and a toddler in the house) and accomplish that for the rest of July. As for now, enjoy my ramblings on Tombstone, and then I’ll move on to one of my favorite Van Damme movies: Double Impact. 

A western more concerned with characters than shootouts...but there are still plenty of shootouts.

Tombstone is beloved among pretty much all my friends and most men and women I've ever brought this movie up to, and that's rare for a western. Westerns have their base audience, of course, but it's typically a niche audience these days. I think this is because filmmakers of westerns in the last two to three decades have been hellbent on not being traditional. This has made for some very interesting, entertaining films in the genre (which I will be writing about in the coming months), but it has also shrunk the audience for the genre. Perhaps that's why people love Tombstone so much. It didn't shy away from early westerns; it wanted to be like them.

(That above paragraph was not supposed to be in bold, but this is blogger, and nearly every article I write has one paragraph that stays bold no matter what I do.)

This isn’t to say Tombstone isn’t interesting, far from it. I do think of it as a very traditional western, which is still something audiences want to see. But more than that, audiences want to see great characters portrayed by great actors, and Tombstone has a ton of both. 

My love of the characters and actors of this film stuck out to me this viewing primarily because I found the biggest action sequence, the “hunting of the Cowboys” montage, to be the least interesting portion of the movie. Normally, you think of westerns and shootouts come to mind, especially for a western based around one of the most famous shootouts in Wild West history. But I didn’t care about the action. It’s not that it’s bad action; I just think it pales in comparison to the character work done earlier in the film.

So I just want to break down what I love about every character in this movie. Before I do that, I have to point out that this movie is so beloved because it is one of the most quotable movies of all time. I single out most of my favorites in the Random Thoughts section, but this is one of those movies I think I could recite verbatim. Anyway, on to the characters:

Wyatt Earp - This is basically his movie, of course, but I think Kurt Russell’s performance makes the character here. His presence is just so powerful. I mean, he just looks like he belongs in a western. And yeah, he gets some pretty awesome tough guy moments (“Are you going to do something or just stand there and bleed?”). Overall, a classic western character.

Virgil Earp - It’s Sam Elliott! For a western like this, it’s a necessity to cast him. My favorite moments are right after he defies Wyatt and takes the law enforcement job. Not only does he have a couple great arguments with Wyatt, but he also gets to have it out with Ike Clanton. One of my favorite moments is when Virgil finally snaps when Ike keeps calling the Earps “pimps.” The rage in his Elliott’s face looks legitimate when goes after Ike.

Morgan Earp - Man, I miss Bill Paxton. Perfectly cast as the fun-loving Earp brother, Paxton is just a guy you want to hang out with. He eventually joins the fight, too, but for the most part Morgan is just there to have a good time and help out his brothers. He reminds me of Cal from Talladega Nights, and I sincerely believe John C. Reilly used this character as inspiration for his performance.

Ike Clanton - According to director George P. Cosmatos, Stephen Lang was drunk the whole shoot, and I found an interview in which Lang basically admits he didn’t drink any water during this shoot. That alone makes me love his performance. He is so effectively skeezy throughout. And I just like the way he says things, especially “law dog” and “you goddamned pimps!” 

Doc Holliday - Everybody loves Val Kilmer in this movie and rightfully so. It’s arguably his best performance (I’m a big fan of his Jim Morrison, too), and he’s one of the most quotable characters ever. Kilmer’s performance is what sells it all. His southern aristocratic accent is perfect for Holliday’s constant sarcasm.

Curly Bill - Powers Boothe is what started me down this current western path, and this performance is one of my favorites. His maniacal laughter throughout is great. I only wish he was the true villain of the film. I feel like he deserved a bit more screentime, but what we get is gold. Plus, he produced the best meme from the movie with his delivery of “well...bye.”

Johnny Ringo - I’m a bit lukewarm on Ringo these days. As a kid, I thought of him as a bad ass villain. Now, his whole existential angst gets on my nerves a bit. I guess I just wanted to see more Curly Bill than Ringo. I do like Michael Biehn in the role, however.

Johnny Tyler - Sure, this is basically just a cameo for Billy Bob Thornton, but it’s so enjoyable. I could watch that scene over and over.

Jane - Let’s face it, Tombstone is a man’s movie right down to the cast. The women are there only as significant others. That said, Jane was interesting, and it’s unfortunate that she’s not given a bit more to do. Doc obviously loved her, and she was definitely into their lifestyle, but we only get glimpses of it.

Josephine - She’s kind of a manic pixie dream girl of the Wild West. So many scenes involve her simply smiling brightly until Wyatt notices. That said, she is a progressive female character who speaks her mind, which is refreshing.

Mattie - Poor Mattie, on the other hand, is woefully mistreated by Wyatt. Yes, she has a laudanum problem, but Wyatt is too busy trying to milk every dime he can out of Tombstone or start a relationship with an actress to meaningfully help her with her problem. I feel like the movie set her up as an addict, which was supposed to make us not care when Wyatt cheated on her. As I see it, Wyatt needed to devote himself more to her then than ever before, and he chose money and an easier relationship instead.

How was this a mess behind the scenes?

I somehow never came across any behind the scenes stories about this movie until I decided to write this article. Apparently screenwriter Kevin Jarre was given this as his directorial debut, but was fired a month in because it was just too much for a first time director. George P. Cosmatos was brought it with almost no prep whatsoever to finish the job. He immediately had the script cut down to focus more on the Earps and went from there. 

That alone is very interesting as such problems usually lead to messy, uneven films. Added to this is Kurt Russell’s later claim that he basically directed the movie and Cosmatos was simply there to supervise. And then Kilmer came out and said that wasn’t entirely true, but Russell did go above and beyond to keep the film going. I listened to a bit of Cosmatos’s commentary, and I’m more inclined to believe Kilmer here. He gives way too much detail about mundane aspects of the film to have merely been a supervisor. And he does mention that the whole project was very collaborative, and that the actors went beyond their required duties to make sure the film was good. 

No matter who really directed it, Tombstone is an anomaly in that it turned out so great despite the chaos behind the scenes. Perhaps Russell does deserve most of the credit. He seemed destined to play Earp, so maybe he saw the potential for greatness in the role and the overall film and made sure it worked out. Either way, all involved should be proud that they produced such an enjoyable, quotable, and awesome western.

Why do I own this?

I think every dude of the ‘90s is required to own this movie. Plus, the special edition is pretty awesome.

Random Thoughts

I'm sorry, but I want to be in the gang that has Powers Boothe, Michael Biehn, an impossibly dirty Stephen Lang, Thomas Haden Church, and Michael Rooker.

I like how Curly Bill's threat at the beginning ends with, "I ain't kiddin', neither." You just killed half the village, Bill, we know you're not bluffin'.

One of the roles Kurt Russell was meant to play, along with Snake Plissken, MacReady, John Ruth, Jack Burton, and, uh...Captain Ron.

And of course Sam Elliott is meant to be in this movie. 

Maddie asking for laudanum is quite a bit of foreshadowing. It's also an example of Wild West ridiculousness that always cracks me up: the rampant use of laudanum. 

This is Frank Stallone's shining moment.

This movie is endlessly quotable, but Billy Bob's line, "Christ almighty! It's like I'm sittin' here playin' cards with my brother's kids or something. You nerve-wrackin' sons-a-bitches!" is possibly my favorite. 

Speaking of Billy Bob, he's nearly unrecognizable in this.

How was Kilmer not nominated for this?

"Johnny, I apologize. I forgot you were there. You may go now."

Wyatt Earp is a greedy dick for the first half of this movie, what with his obsession with money and his presumptuous turning down of law enforcement jobs before they're offered. 

Bill Paxton's "aw shucks" portrayal of Morgan is great.

"Prettiest man I ever saw." 

The camera stays on Jason Priestly watching Billy Zane for a full six seconds, which doesn't sound long but is actually an eternity. 

The Holliday/Ringo interaction gets most of the love, but I'm partial to Ike Clanton's "law dog" threats to Wyatt at the saloon. 

This movie was the first time I heard "in vino veritas," which I totally said all the time when I first started drinking. 

"I don't laugh all day long like an idiot."

Curly Bill has quite the reaction to opium: shooting randomly, literally howling at the moon, and shooting a marshal. 

"I swear to God, law dog, let him go."

"Talk to him, will you? Or hit him?"

I love how Ike calls the Earps “pimps.” I think Ike Clanton might be my favorite character in this movie.

"What's wrong with him?"

"Lunger."

Gesturing towards Holliday's exit. "Well, I hope you die!"

“I don’t take no mouth from no bartenders, neither. There, you see? Give somebody a rap on the beard, get some respect around here.” Is immediately pistol-whipped.

I’ve always thought Virgil’s pistol-whipping of Ike was pretty weak.

“I ain’t easy, and I ain’t your kid. You take sorry and shove it up your ass!” That would be a pretty badass moment if that dude wasn’t immediately pistol-whipped to the ground with his own gun.

Thomas Haden Church cracks me up in this, too. He’s always just adding to what others say. Like adding, “Bastards. It’s comin’!” as they ride off from jail. Good one, Lowell!

I think this is the first time I noticed the wagon of women going by with the sign “Equal pay for equal work. No matter the gender.” 

The fire before the famous shootout is apparently accurate. I just like how all the guys just look at it with no concern at all as they keep walking.

I love how Wyatt tells Ike, “The fight’s commenced. Get to fightin’ or get out of the way!” It’s like, “Hey, Ike, you know the rules of gunfights, damn it!”

“I’m not going to fight you, Ringo. There’s no money in it.” Greedy Earp at it again.

I love how Ringo pronounces “lunger,” emphasizing the “g.”

“Somebody get that goddamn dog outta here!” Seriously, why is Morgan’s wife and a dog still in there while they’re trying to dig a bullet out of his back?

“Well...bye.” This is why I love Powers Boothe.

I guess I forgot about Doc’s deathbed confession about being in love with his 15-year-old cousin, who became a nun after their affair…

I love all the abrupt info in the ending narration. Ike Clanton was killed two years later. Mattie died of an overdose soon after leaving Tombstone. Good to know they didn’t forget about these characters.

Possibly my favorite ending line of a movie ever because of its randomness: “Tom Mix wept.”

..