Michael Caton-Jones
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The music gets much more mellow as the pace slows down, and Randy Newman's "Our Town" sung by James Taylor shows a mellowing in McQueen, recalling Michael J. Fox in Doc Hollywood and countless other big-city-guy-meets-small-town-simple-folk films.
The derivative tale of a big city boy entering a small town world is an almost note-by-note copy of the Michael J. Fox comedy, “Doc Hollywood.”
As per the formulaic plotline—lifted most obviously from Doc Hollywood—Lightning’s fortunes are sidetracked when he falls off the truck and lands in a teeny town off the highway, Radiator Springs (the fall in itself borrows from another movie, The Fast and The Furious, as bully-punk cars harass lil’ Lightning).
Set in a world inhabited only by motor vehicles, Cars is sort of a cross between Michael J. Fox 's Doc Hollywood and NASCAR.
If you can get past that the story is basically the same as the 1991 Michael J Fox 'vehicle' "Doc Hollywood" - as portrayed by the Chevron cars - it should make for an enjoyable trip to the movies for all ages.
The Day of the Jackal (1973)
Directed by Fred Zinnemann
influenced The Jackal (1997), Basic Instinct 2 (2006)
Plot
The Jackal is a trashy, frenetic remake of Fred Zinnemann's 1973 The Day of the Jackal, a fascinatingly deadpan Continental manhunt thriller that served up its trickery and disguises with a fair degree of sophistication and wit.
Inspired by the rough outline of the 1973 film "The Day of the Jackal," which focused on a plot to do away with French leader Charles de Gaulle, "The Jackal" probably sounded good enough to fill out the dance card of stars like Bruce Willis and Richard Gere and director Michael Caton-Jones.
You pretend you're making a remake of "The Day of the Jackal," Fred Zinnemann's 1973 thriller based on the Frederick Forsyth novel about the assassination plot against Charles De Gaulle.
In director Michael Caton-Jones's loosely based remake of Fred Zinnemann's The Day of the Jackal (1973), the classic theme of using a criminal to catch a criminal is employed.
Directed by Michael Caton-Jones; written by Chuck Pfarrer, based on the motion picture screenplay "The Day of the Jackal" by Kenneth Ross; director of photography, Karl Walter Lindenlaub; edited by Jim Clark; music by Carter Burwell; production designer, Michael White; produced by James Jacks, Sean Daniels, Caton-Jones and Kevin Jarre; released by Universal Pictures.
Fred Zinneman's masterful 1973 adaptation of Frederick Forsyth's bestselling novel "The Day of the Jackal" is unforgivably mutilated in "The Jackal," an alleged "remake" that resembles neither Forsyth's novel nor Zinneman's film sufficiently to claim any relation to either.
After scoring big in the leading character role of the reluctant protagonist in "Schindler's List," Liam Neeson reaches his heroic and romantic potential with "Rob Roy," a larger-than-life "Robin Hood" character in a period setting that suits the actor very well.
And if you've seen any of these - or "Braveheart," "Rob Roy," "The Patriot" or "Gladiator," for that matter - then you've seen the new version by director Ridley Scott with Russell Crowe, a torpid action movie about land reform with the exhausted quality of material so thin you can see right through it.
It's been 14 years since the original "Basic Instinct," and time - and the miracles of beauty technology - have been kind to Stone.
There is not a trace present of the Hitchcock-inspired suspense that director Paul Verhoeven powerfully exerted over the original "Basic Instinct."
While a certain designed vulgarity in the original "Basic Instinct" raised many an eyebrow and protests from the religious gallery, the success of it demanded a sequel which, 14 years and a session or two under the scalpel later, this is.
After a hot arrival in “Basic Instinct” (1992) and good work in “Casino” (1995), Sharon Stone did a rapid fade – becoming one of the actresses (Jill Clayburgh, Debra Winger, Diana Ross, Ellen Barkin, Whitney Houston) whose careers suddenly fell through the floor.
Fourteen years have passed since the first "Basic Instinct."
There hasn't been a film in a long time1989's Scandal might be the lastthat conjures up the underside of post-war English luxury.
The first movie may have been a loose (and unintentional) remake of 1991’s “Doc Hollywood,” but at least it was charming and heartwarming.
Its streamlined curves and riveted steel plates recall WWII fighter planes — even down to a pinup girl mascot — thus accessing a wealth of cinematic subtext (Top Gun, Memphis Belle) about heroism, risk-taking and camaraderie.
As the alpha villain, Whitehead ( Dunkirk ) leaves as much of an impression here as Tim Roth does in Rob Roy (1995), in part because everyone else is so dutifully restrained.
Pirates of the Caribbean: On Stranger Tides (2011)
Directed by Rob Marshall
influenced by Rob Roy (1995)
Visuals
We no longer see truly great sword-fighting, the kind performed by Liam Neeson and Tim Roth in " Rob Roy " (1995).
Any movie that lifts from both "This Boy's Life" and "Meatballs" is a rarefied creation, and in this case a pretty wonderful movie.
Although Snook is not 100 percent convincing as a full-grown male—she looks like the young Leonardo DiCaprio in This Boy’s Life (92)—her eloquence as a performer, and the Spierigs’ empathy and cleverness, make you eager to suspend disbelief.
Obviously, there's not much there with which to fashion a film, so screenwriter C. Jay Cox (making his debut) and director Andy Tennant ("Anna and the King," "Ever After") have essentially just taken the 1991 picture "Doc Hollywood," changed a few parameters, complications and characters, and called it their own.
There’s an impressive sense of longing built up the overwrought sexual build up – with the bulldozer style sex appeal feeling reminiscent of 90s erotic camp masterpieces Basic Instinct (yet maybe this has more in common with Basic Instinct 2 ), The Colour of Night , Showgirls , and Striptease .
The battle sequences are a pale shadow of the lucidly choreographed swordplay in " Rob Roy " (1995); instead of moves we can follow and strategy we can appreciate, Scott goes for muddled closeups of fearsome but indistinct events.
The battles display none of the art that gave at least aesthetic value to the duels in The Phantom Menace and Rob Roy.
Gladiator weds the heroic scope of movies like Ben-Hur, Spartacus, Braveheart, and Rob Roy with the serpentine political treachery of I, Claudius.
It's true that Roman Polanski's "Chinatown," a 1974 neo-noir, was bathed in L.A. sunlight; but that film had an inventively sinister plot, and a dark sexual kink.
Star Wars: Episode III - Revenge of the Sith (2005)
Directed by George Lucas
influenced by Rob Roy (1995)
When it comes to great movie sword fights, Liam Neeson and Tim Roth took home the gold medal in " Rob Roy " (1995), and the lightsaber battles in "Episode III" are more like isometrics.
In visual style, tone, and structure, Tony is an entertaining, warm, hangout flick that feels spiritually aligned with Dazed and Confused and Everybody Wants Some!! – with traces of Doc Hollywood.
If I’m still looking at Rob Roy as one of the best modern examples of a duel, Scott at least looks at exciting and realistic ways to complicate the matter of two prideful men fighting to the death.
Not since Michael Cristofer's Original Sin has the screen been graced with so much overheated trash, though Original Sin had the sense to realize it was what it was and emerged as a kind of trash masterpiece.
But the longer the film goes on, and the more its figures solidify into actual characters, the less magical it seems, until eventually it resembles a solid but largely unexceptional memoir not unlike, say, This Boy’s Life.