Showing posts with label Andy Garcia. Show all posts
Showing posts with label Andy Garcia. Show all posts

Tuesday, 11 August 2026

Movie Review: Dead Again (1991)


Genre: Supernatural Mystery  
Director: Kenneth Branagh  
Starring: Kenneth Branagh, Emma Thompson, Derek Jacobi, Andy Garcia, Robin Williams, Wayne Knight, Hanna Schygulla  
Running Time: 108 minutes  

Synopsis: In present-day Los Angeles, private detective Mike Church (Kenneth Branagh) stumbles into caring for the mysterious "Grace" (Emma Thomson), a woman suffering from amnesia. Hypnotist Franklyn Madson (Derek Jacobi) unlocks her memories, which are intertwined with the 1948 murder of socialite Margaret Strauss (also Thompson). Margaret's husband, celebrated music composer Roman Strauss (also Branagh), was found guilty of her murder. Before his execution, Roman communicated with investigative reporter Gray Baker (Andy Garcia). Now Mike has to solve Grace's mystery and her relationship to past events.

What Works Well: The attempt to create a neo-noir detective thriller crammed with hidden agendas is appreciated. The 1948 scenes are captured in smoky yet alluring black and white, and the mystery elements linking the present to the past are initially compelling. The talented cast ensures quality in every role, with Robin Williams contributing as a burnt out psychiatrist.

What Does Not Work As Well: As the plot reveals its details, the drama unfortunately unravels into ludicrous supernatural territory. The tonal disorientation is compounded by large inconsistencies, including sudden confessions and one character apparently working extra hard to self-incriminate. What starts with promise ends in a mess.

Key Quote:
Baker: You really believe that you're lucky to die?
Roman: What I believe, Mr. Baker, is that this is all far from over.



All Ace Black Movie Blog reviews are here.

Saturday, 16 May 2026

Movie Review: Twisted (2004)


Genre: Psychological Crime Thriller  
Director: Philip Kaufman  
Starring: Ashley Judd, Samuel L. Jackson, Andy Garcia, David Strathairn  
Running Time: 97 minutes  

Synopsis: In San Francisco, police officer Jessica Shepard (Ashley Judd) is promoted to a homicide detective under the tutelage of Commissioner John Mills (Samuel L. Jackson), who has mentored her ever since she lost her parents in shocking circumstances. Now she partners with Detective Delmarco (Andy Garcia), and they start investigating a series of murders with one thing in common: the victims are men who have had one-night stands with Jessica. As she grows closer to Delmarco and attends sessions with a therapist (David Strathairn), Jessica experiences blackout episodes and starts to suspect she may be a murderer.

What Works Well: This is an engaging-enough psychological mystery, with a flawed but worthwhile protagonist grappling with more questions than answers. Ashley Judd is serviceable in the main role and receives strong support from Samuel L Jackson (confident), Andy Garcia (weary), and David Strathairn (thoughtful). Director Philip Kaufman demonstrates interest in both character-building and investigative machinations, throwing enough clues and red herrings into the grisly-past-casting-a-shadow-on-the-present premise to sustain momentum.

What Does Not Work As Well: Not much distinguishes the script from countless slick 1990s thrillers, and despite the twists and turns, the evil mind behind all the murders is not difficult to guess. The motive and timing of all the killings are at best questionable, and the final act stretches the limits of logic and is more frantic than considered.

Key Quote:
Jessica: Everyone who kisses me... turns up dead.



All Ace Black Movie Blog reviews are here.

Sunday, 29 December 2024

Movie Review: Desperate Measures (1998)


Genre: Action Thriller  
Director: Barbet Schroeder  
Starring: Andy Garcia, Michael Keaton, Marcia Gay Harden, Brian Cox  
Running Time: 100 minutes  

Synopsis: Desperate to find a bone marrow donor for his sick son, San Francisco-based FBI Agent Frank Conner (Andy Garcia) breaks into a governmental database and identifies prison inmate Peter McCabe (Michael Keaton) as a match. A multiple murderer serving a life sentence, McCabe eventually agrees to be a donor, but only because he has an escape plan in mind. Connor has to recapture McCabe and keep him alive, with help from Dr. Samantha Hawkins (Marcia Gay Harden).

What Works Well: Andy Garcia and especially Michael Keaton bring substantial levels of commitment to their roles, in performances that well exceed the strength of the material. The scenes of mental dueling between Connor and McCabe carry a buzz sorely lacking from the rest of the film.

What Does Not Work As Well: An outlandish but interesting-enough premise is wasted on generic chases and tired close calls, with most of the action set within a prison/hospital complex. One criminal is repeatedly able to outsmart an army of law enforcement officials, and only Connor as the scrappy agent-with-a-personal-cause can save the day. Opportunities to explore character backgrounds and moral dilemmas are diligently ignored in favour of sappy servings of father-son dialogue.

Key Quote:
Peter McCabe: You have to appreciate the irony. After all these years of being locked up, I'm given the opportunity to kill again. A cop's kid, too, and all I have to do is sit right here.



All Ace Black Movie Blog reviews are here.

Sunday, 17 December 2023

Movie Review: Internal Affairs (1990)


Genre: Crime Thriller
Director: Mike Figgis
Starring: Richard Gere, Andy Garcia, Nancy Travis, Laurie Metcalf
Running Time: 115 minutes

Synopsis: In Los Angeles, corrupt cop Dennis Peck (Richard Gere) funnels illicit money to his pockets and doles out favours to other cops, including his cocaine-addicted partner Van Stretch (William Baldwin). When Van roughs up his wife, internal affairs agents Raymond Avilla (Andy Garcia) and Amy Wallace (Laurie Metcalf) start to investigate. Dennis and Raymond hate each other from police academy days, and as Raymond closes in on Dennis' racket, their rivalry becomes personal and violent, with Raymond's wife Kathleen (Nancy Travis) dragged into the conflict.

What Works Well: Although they both struggle against poorly defined characterizations, Richard Gere and Andy Garcia provide high-wattage and confident star power. They are complemented by Nancy Travis, who gets the best and most surprisingly effective scene, and a tragic William Baldwin. The production values are high and director Mike Figgis hustles the action along, underlining the toll of an intense investigation on Raymond's home life.

What Does Not Work As Well: After a promising start, the second half of Henry Bean's script disintegrates into a ridiculous over-the-top hissing-and-punching duel between a psychopath and a hothead, both preferring fists over wits. The narrative omits even a basic explanation of the mass corruption at the heart of the investigation (Dennis' involvement with sleazoids far from explaining his supposed wealth and influence), then detaches from reality as assaults multiply and the dead bodies pile-up.

Conclusion: The veneer of quality hides a rotting core.



All Ace Black Movie Blog reviews are here.

Sunday, 12 November 2023

Movie Review: Pain Hustlers (2023)


Genre: Business Drama
Director: David Yates
Starring: Emily Blunt, Chris Evans, Andy Garcia, Catherine O'Hara, Jay Duplass
Running Time: 123 minutes

Synopsis: In Florida of 2011, single mom Liza Drake (Emily Blunt) is financially struggling to look after herself and her daughter Phoebe. She accepts an offer from executive Pete Brenner (Chris Evans) to join fledgling pharmaceutical firm Zanna. The company's one approved product is Lonafen, a fentanyl-based cancer pain medication developed by owner Dr. Neel (Andy Garcia). Liza's hustle snares the prescription business of Dr. Lydell (Brian D'Arcy James), and soon the big money starts rolling in. Neel's behaviour becomes more eccentric, while Liza and Pete push the limits in incentivizing doctors to prescribe the medication.

What Works Well: Inspired by actual events at Insys Therapeutics chronicled in Evan Hughes' book, this is a glossy inside look at the scuzzy profits-before-people pharmaceutical industry. Adopting some of the jovial tones from The Wolf Of Wall Street, director David Yates crafts a compelling and fast-paced rags-to-riches business story built on the hustle to sell product - in this case a synthetic opioid approved for sale based on dubious studies. Emily Blunt is excellent in personifying the greed version of the American Dream, as Liza builds a team of dropouts - including her mother (Catherine O'Hara) - snaring third-tier doctors happy to take a cut in the form of "appearance fees".

What Does Not Work As Well: It's all fun and games until someone dies, and here the victims are a sketched-in afterthought. Blunt is asked to carry the entire dramatic load, as Dr. Neel quickly devolves into a cartoon character and Chris Evans is unable to find a real person in the lightweight Pete Brenner. The portrayal of Liza's relationship with her mother is scrappy at best.

Conclusion: Sickness and suffering as an opportunity for slick success.



All Ace Black Movie Blog reviews are here.

Saturday, 5 February 2022

Movie Review: 8 Million Ways To Die (1986)

A moody crime drama, 8 Million Ways To Die features plenty of fiery characters but the flimsy plot lacks both depth and logic. 

In Los Angeles, narcotics detective Matt Scudder (Jeff Bridges) is involved in yet another shooting. His life disintegrates into the bottle, and he loses his job, house, and family. He eventually joins Alcoholics Anonymous and sobers up. Six months later he is contacted by high-class prostitute Sunny (Alexandra Paul). She works out of the home-based casino run by suave gangster Chance (Randy Brooks), but now seeks protection because she fears Chance wants to harm her.

Matt is unable to help Sunny in time: she is killed and he reverts back to drinking. Chance claims to be uninvolved in the murder, so Matt turns his attention to combustible drug lord Angel Maldonado (Andy Garcia), who frequents the casino and is most enamoured by Sarah (Rosanna Arquette), one of the other prostitutes. Matt teams up with Sarah and tries to lure Angel into a trap, but violence awaits.

Despite ample star power and a glitzy visual style, director Hal Ashby is unable to salvage a troubled production. The script was cobbled together from uncoordinated contributions by the trio of Oliver Stone, R. Lance Hill and an uncredited Robert Towne, collectively botching the adaptation of Lawrence Block's book. Gangsters, drugs, alcoholism, gambling, money laundering, and prostitution are lined up and left exposed in a remarkable display of disassociated filmmaking.

8 Million Ways To Die lands as a limp salute to a noir world where all the men are deeply flawed or knowingly corrupt and all the women are cynical or vacuous sex workers. The collection of ideas never gels into anything more than rivals hissing at each other at close quarters, interrupted by prostitutes undressing in attempts to manipulate or survive.

The writing gaps were apparently papered over by plenty of improvisation, and in several scenes it's apparent Jeff Bridges and Andy Garcia are desperately trading made-up lines just to fill in the blanks. Unsurprisingly, Ashby was fired after principal photography.

The few positives include a sun-drenched, too-hot aesthetic, and a couple of beautiful sets representing Chance's casino and Angel's Gaudi-inspired residence (known as the O'Neill House). The climactic showdown at a massive but empty warehouse is an out-of-control but fun collision of pointed guns and agitated profanities hurled in all directions to obscure the lack of substance. 

Bridges and Garcia almost make up for the dross with sheer screen presence, but both Rosanna Arquette and Alexandra Paul flounder in thoughtlessly sketched-in roles. 8 Million Ways To Die is a great title, but unfortunately also a demonstration of demise by dissonance.



All Ace Black Movie Blog reviews are here.

Thursday, 7 October 2021

Movie Review: Wrath Of Man (2021)

A heist thriller, Wrath Of Man bolsters basic macho action with a sharp attitude and an engaging if unnecessarily convoluted plot.

In Los Angeles, a heavily armed gang violently robs a Fortico armoured truck full of cash. The two guards and one civilian are killed. The company, managed by Terry Rossi (Eddie Marsan), beefs up resources and training to try and discourage similar incidents. Experienced guard Patrick "H" Hill (Jason Statham) is one of the new recruits, and veteran Fortico employee Haiden "Bullet" Blaire (Holt McCallany) introduces him to the company's protocols. Another guard, "Boy Sweat" Dave Hancock (Josh Hartnett), resents H's aloof attitude.

H has an investigative agenda and wastes no time imposing his aura and seducing the only female guard Dana (Niamh Algar). He impresses everyone by single-handedly thwarting an attempted heist, then gains legendary status when his sheer presence scares off yet another gang. In flashbacks, his backstory is revealed: he has murky connections to both the underworld and enforcement agencies through the FBI's Agent King (Andy Garcia), and a very personal score to settle. Meanwhile, a gang of ex-military veterans led by Jackson (Jeffrey Donovan) and including the bloodthirsty Jan (Scott Eastwood) plots an audacious job.

Director and co-writer Guy Ritchie re-teams with star Jason Statham to create a high energy yet brooding adaptation of the novel Cash Truck by Nicolas Boukhrief. The four cinematic chapters titled A Dark Spirit, Scorched Earth, Bad Animals, Bad and Lungs, Liver, Spleen, Heart complement Wrath Of Man's titular mood and hint at the playful rage within. The movie rises above stock revenge cliches thanks to high production values, a clever flashback structure, a threatening music score, stylish action scene staging, and Statham's enduring charisma.

An inside mole, gangland wars, revenge most cold, and a half-baked enforcement operation combine for a thick plot featuring four separate groups competing for screen time. The armoured truck guards, Hill's core underworld colleagues, the FBI, and Jackson's crew create too many men (and just one woman) without enough screen time to properly connect them. The Scorched Earth chapter particularly suffers, violence layered upon violence while the dynamic between the Hill and Jackson factions fails to properly latch.

The crucial heist resulting in three deaths kicks-off the drama in the opening scene (filmed in one take and mostly from inside the truck), and is a worthwhile centrepiece. Ritchie returns to the event twice more from different perspectives to fill in the main character's roles. Several other action scenes inject regular doses of excitement, none better than Hill finally revealing his shooting skills and cool temperament by foiling a robbery in progress. The final climactic heist runs ragged and gets close to chaos, but with Statham in command, Wrath Of Man is in good hands.



All Ace Black Movie Blog reviews are here.

Sunday, 1 March 2020

Movie Review: Geostorm (2017)


A science fiction disaster thriller, Geostorm is laughably inept.

A few years into the future the world unites to create a satellite-based system, nicknamed Dutch Boy, to combat climate change. American Jake Lawson (Gerard Butler) leads the global effort to build the system from the expanded International Space Station, but is then summarily fired for frequent insubordination and replaced by his more politically savvy brother Max (Jim Sturgess).

Three years later Dutch Boy starts to malfunction, causing multiple weather catastrophes and the threat of a globe-threatening "geostorm". President Palma (Andy Garcia) and Secretary of State Dekkon (Ed Harris) turn to Max for answers, and he convinces Jake to go back to the ISS and investigate. Jake and commander Ute Fassbinder (Alexandra Maria Lara) uncover evidence of an elaborate sabotage, while back on earth Max teams up with his lover, Secret Service Agent Sarah Wilson (Abbie Cornish), to identify the conspirators.

While the placement of climate change at the center of a large-scale disaster film is a laudable exercise in awareness-raising, it is worrisome that the solution conjured up by director and co-writer Dean Devlin seems to have nothing to do with curtailing carbon emissions and instead imagines an ability to zap the natural consequences.

Everything else about Geostorm suitably crashes to earth in a mess of bad writing and worse special effects. Both the science and the fiction are ridiculous, as are the overblown and overwhelmingly bad disaster visuals. The script consists of thrice recycled components, the animosity between brothers one of many cringe-worthy elements as Gerard Butler and Jim Sturgess struggle to produce any emotional resonance.

As for the conspiracy, it consists of a barely coherent power grab and weaponization of science by the usual disgruntled suits, although here the scale of global death and destruction unleashed in the name of seizing control of geopolitical destiny is well beyond comprehension and weighed down by juvenile CGI run amok.

Meanwhile back at the ISS the really old "self destruct" cliche is dusted off and trotted out, complete with a countdown clock and robotic warning voice. As massive explosions and fires devour everything surrounding Jake and Ute, somehow enough technology still functions to give them a chance to input "kill codes" to stop the carnage. The system reboot also still works and takes a matter a seconds, much faster than the typical cell phone, proof positive that technology will come a long way even as some movies eject intellect into a vacuum.






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Sunday, 16 December 2018

Movie Review: The Mule (2018)


A drama and character study, The Mule is a simple yet elegant story of an elderly man looking for renewed purpose.

In Illinois, Earl Stone (Clint Eastwood) ran a successful horticulture business, but was a neglectful husband to his now former wife Mary (Dianne Wiest) and an inattentive father to his bitter daughter Iris (Alison Eastwood). Now in his eighties, Earl did not keep up with online commerce and goes bankrupt. Granddaughter Ginny (Taissa Farmiga) maintains a good relationship, and one of her friends connects Earl with a drug cartel in need of reliable transport across state borders.

Earl starts making long drives to deliver bagfuls of narcotics, and establishes a reputation as a dependable and trustworthy mule, attracting the admiration of Mexican cartel boss Laton (Andy Garcia). Earl uses his substantial earnings to help good causes in his community, and to mend fences with his family. But Drug Enforcement Agency agents Bates (Bradley Cooper) and Trevino (Michael Peña) start to close in, with their boss (Laurence Fishburne) desperate for a big bust.

Directed by Eastwood and written by Nick Schenk, The Mule is inspired by a true story. The film is a warts-and-all exploration of a life full of joy and regret, and a remarkable second wind carrying Earl into an ocean of criminal activity. An old man at peace with himself and long past caring about niceties and political correctness, Earl makes for an ideal and nearly undetectable criminal.

Eastwood never judges his protagonist, instead allowing Earl to arrive at his own conclusions. With the curtain about to fall on his life, this is a man who learns almost too late that career success at the expense of a family life in tatters may not have been the best trade off. The same oblivious attitude that led Earl down the wrong path the first time around remains in evidence as he never seems to question the devastating social ills his mule activities are helping unleash.

But at least this time Earl uses his windfall Robin Hood style to rebuild community and recreational centres and help his family members, gradually earning his way back into the life of Mary and Iris. He will again confront a work-versus-family decision point, this time with the threat of a brutal death for defying vicious criminals. But having been around the block once before, Earl is better equipped to recognize the landmarks.   

The film is not without weaknesses. Plot holes abound in the intelligence battle between the cartel and the DEA, and The Mule is another film where the criminals are highly resourceful except when it suits the script. Overall the investigative elements featuring the high profile trio of Bradley Cooper, Michael Peña and Laurence Fishburne are underwritten for the available talent. A couple of key characters, including a Filipino informer and a chief cartel lieutenant, are given prominence then ignored.

Eastwood's directing is an example of eloquent efficiency, the character conflicts created with sharp and short strokes, allowing plenty of time for road trip interludes showcasing Earl's comfort with ruling his domain behind the wheel of his pickup on the open highway. When the time comes for serious conversations, Schenk conjures up memorable exchanges between Earl and Bates at a diner, and then between Earl and Mary, reflecting on second chances.

The Mule is about seizing life's next opportunity at any age, as discovered by the old man absentee. 






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Tuesday, 18 April 2017

Movie Review: For Greater Glory (2012)


A well-produced historical war epic, For Greater Glory (also known as Cristiada) shines a welcome light on a little-known but ugly conflict. The film is old-fashioned in scale and scope, but leans too far towards sanctifying pro-Catholic sentiment to be taken seriously.

It's 1926 in Mexico, and secular President Calles (Rubén Blades) insists that anti-Catholic provisions in the 1917 Constitution be enforced. Protestors demanding religious freedoms take to the streets, and the subsequent government crackdown includes the deportation of priests and the killing of others, including Father Christopher (Peter O'Toole). The violence triggers a rebellion, with ragtag militias known as the Cristeros squaring off against federal soldiers. The rebel leaders include the militant Father Vega (Santiago Cabrera), ostensibly responsible for a civilian massacre, and legendary peasant commander Victoriano "El Catorce" Ramírez (Oscar Isaac), known for single-handedly killing fourteen federalist soldiers.

Needing better organization, the Cristeros approach retired General Enrique Gorostieta (Andy Garcia) and offer him the opportunity to forge the disparate anti-government troops into a cohesive fighting force. Over the protests of his wife Tulita (Eva Longoria), he agrees to leave his comfortable life as a soap magnate and heads to the hills to lead the rebellion. A young boy José (Mauricio Kuri) joins the rebels and becomes Gorostieta's surrogate son. The war drags on for years, until the American government through Ambassador Morrow (Bruce Greenwood) decides to intervene while keeping an eye on American interests in the Mexican oil fields.

A lavish Mexican production directed by Dean Wright, For Greater Glory recalls Hollywood's epics of the 1950s and 1960s, with a grand scope, multiple storylines, serious characterizations, armies of extras and grand battles. For Greater Glory is also unfortunately encumbered by a lack of subtlety that may have been acceptable in a different era, but now borders on propaganda. The film treats the conflict as an almost straightforward battle between good (the Catholic church) and evil (President Calles), and there is no attempt to introduce shades of grey or nuanced context.

The obtuse tone is unfortunate, because there is a lot to enjoy in the movie. Wright, the visual effects producer for Titanic, two Lord of the Rings movies and two Narnia movies, knows how to make a scene look good, and despite the long 145 minutes of running time the film never lacks for visual splendor or energy. The action scenes are particularly well handled, Wright navigating the chaos of battle with fluid expertise.

Less impressive is an overemphasis on the story of young José, a fable that creeps into consecration territory, impressive for the devout but otherwise overcooked into a chewy mess of miraculous manipulation.

Andy Garcia leads a large cast and delivers a distinguished performance as General Enrique Gorostieta, a man who believes in freedom, family and finances, and therefore triangulates his way into leading the Cristeros despite being a confirmed atheist. Peter O'Toole, at 80 years old, is much more theatrically divine as Father Christopher.

Unabashedly one-sided, For Greater Glory preaches to the converted and allows its tone-deaf stance to compromise an otherwise worthwhile retelling of a largely forgotten civil war.






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Sunday, 2 April 2017

Movie Review: Confidence (2003)


A stylish crime drama, Confidence is a complex sting story told with plenty of panache but not much heart.

The film is told in flashback and narrated by Jake Vig (Edward Burns), who has just been shot in Los Angeles. Three weeks earlier, Jake and his buddies Gordo (Paul Giamatti), Miles (Brian Van Holt) and Al (Louis Lombardi) run a sting inadvertently victimizing crime lord The King (Dustin Hoffman). In return The King has Al killed. Jake averts further casualties by offering to run a sting for The King to recover his losses. Corrupt banker Morgan Price (Robert Forster) is the selected mark.

Jake prepares an elaborate ruse to wire $5 million out of Price's bank to a fake company in Belize. He enlists the help of fellow con artist Lily (Rachel Weisz), and the crew target a corruptible bank Vice President to help make the transfer happen. But local crooked cops Omar Manzano (Luis Guzmán) and Lloyd Whitworth (Donal Logue) are pressured by Special Agent Gunther Butan (Andy García) into harassing Jake, massively complicating the operation.

Directed by James Foley, Confidence is a slick exercise in explaining the mechanics of high stakes cons. This is both the film's triumph and its weakness. The movie's construction is a visually compelling autopsy of how to succeed in crime, narrated by Jake as he dissects every move in detail. As a result the plot remains comprehensible despite its complexity, but because the entire movie is effectively a 97 minute learning course, the passion and character warmth are missing. It's also relatively easy to figure out who is being conned at every given stage.

Setting aside the sense of detachment. Foley focusses on style and delivers in spades. This film is bathed in neon, internal lights, colours, shadows and silhouettes, achieving an absorbing neo-noir aesthetic. There are almost no ordinary shots, as every frame is lovingly constructed from interesting angles and dynamic perspectives. The combination of convoluted plot and rich style deliver a captivating experience.

Jake Vig believes in one thing above all: confidence is the path to riches. He also understands most people's weakness in front of the promise of easy money, and exploits this feebleness to full advantage. Edward Burns internalizes the role and cruises through the film with a cool-under-pressure dogma. Dustin Hoffman sinks his teeth into a pretty insane turn as The King, a crime boss all too aware of his ADHD and exploiting the condition to full effect. There may be few more threatening conditions for crime than a murderous mobster who can't hold a thought for long enough to think. Otherwise the film's brevity is welcome, but comes at the expense of depth. Jake finds his counterpart in Lily, but overall Rachel Weisz and all the other characters have no arc and remain stock representations.

But this is a movie about process rather than people, and Confidence manipulates the cards then plays them with a bullish swagger.






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Friday, 21 March 2014

Movie Review: Black Rain (1989)


A stylish action thriller set mostly in Tokyo, Black Rain is dark, violent and intense.

Divorced and financially strapped New York City police detective Nick Conklin (Michael Douglas) is gradually attracting the interest of police corruption investigators, on suspicion that he may be skimming from the proceeds of crime. Nick and his partner Charlie Vincent (Andy Garcia) then witness a bloody theft involving rival Japanese criminals, and arrest the murderous gang leader Koji Sato (Yusaku Matsuda). Nick and Charlie are given the assignment to escort Sato back to Tokyo and hand him over to Japanese enforcement authorities.

Upon arrival Nick is duped by Sato's associates, allowing the prisoner to escape. A humiliated Nick and the more carefree Charlie decide to stay in Tokyo to make up for their blunder, and they team up with Tokyo detective Masahiro "Masa" Matsumoto (Ken Takakura) to try and track down Sato. The trail leads to a gang war over precious near-perfect currency forgery plates, and a mysterious American woman named Joyce (Kate Capshaw) who hangs out at nightclubs and knows more than she is willing to tell. Before long Nick and Charlie find themselves targets of Sato's brutality, as the hunters become the hunted.


What Black Rain lacks in plot cohesiveness, it makes up for in a dazzling visual aesthetic. Director Ridley Scott looks for playful light, shadows, fire, smoke and ceiling fans to enliven most scenes, and creates plenty to engage the eye even when the plot itself is just above average.

Artistic touches also ensure that events are just muddled enough to create uncertainty, Scott using his characters' limited point of view, the language barrier or a combination of physical and light obstacles to inject a level of realistic doubt about exactly what is unfolding. It's an effective representation of the culture shock facing Nick as he tries to reclaim his lost pride.

The film moves along at a good pace, Nick, Charlie and Masa never standing still in pursuit of Sato and his gang, while the criminals themselves are engaged in a bloody internal war for control of the currency forgery trade. Scott and screenwriters Craig Bolotin and Warren Lewis still find time for a few character bonding scenes, Charlie and Masa particularly hitting it off at the karaoke bar thanks to the universal language of Ray Charles.

Nick is provided with a darker background, not just as the typical anti-authoritarian cop but also an officer possibly tempted to dip into the cookie jar that he is supposed to be protecting. Douglas brings plenty of vigour and pent-up anger to the role, portraying Nick's mounting frustration with a life spent battling against bureaucrats in suits and ever-increasing bills, and this before he has to track down a killer in a foreign city. Garcia provides balance as the much more relaxed and likeable Charlie, able to loosen up and more easily get along with the Tokyo detectives.

Black Rain may lack a downpour of original ideas, but it does provide a good drizzle of creatively filmed action.






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