Cast: Ioan Gruffudd, Jessica Alba, Chris Evans, Michael Chiklis, Julian McMahon, Kerry Washington
Genre: Superhero
Worldwide Box Office Gross: over $333 million
Plot: A group of astronauts gain superpowers after a cosmic radiation exposure and must use them to oppose the plans of their enemy, Doctor Victor Von Doom
'Solid Adaptation & Far from The Drubbing It Received in 2005'
As the 1990s became the noughties/00s, the age of the Marvel cinematic universe began, starting with Blade in 1998 starring Wesley Snipes, X-Men followed suit in 2000 with then-unknowns Halle Berry and Hugh Jackman: the financial success of the X-Men movies catapulted their statuses. But it was 2002's Spider-Man that broke the $100 million barrier. Fox's gamble on the X-Men paid off and they then turned their attention to the Fantastic Four. 2005's Fantastic Four became the second live-action Fantastic Four. A number of directors flirted with the idea of taking on the most famous superhero family - those included Chris Columbus (well known for Home Alone and Mrs. Doubtfire), who under Avi Arad and Ralph Winter's production was hired by Fox to write AND direct the Fantastic Four, way back in 1995, and Payton Reed, the latter who went on to take on the realms of Marvel's Ant-Man, - before it settled on Tim Story- whose previous success was with 2002's Ice Cube and Cedric the Entertainer comedy, Barbershop.
Fox's initial first choice for Sue Storm was Rachel McAdams (The Notebook and Dr Strange), whereas Payton Reed wanted Charlize Theron for the female role and have Paul Walker (The Fast & the Furious) playing Sue's brother, Johnny Storm. Alexis Denisof (Buffy the Vampire Slayer) as Reed, John C. Reily as Ben Grimm/The Thing and Jude Law as Victor Von Doom rounded up the initial casting. Under Tim Story's direction, the casting became of that of Welsh actor, Ioan Gruffudd, Jessica Alba - off the back of dance drama, Honey -, then unknown Chris Evans in his first comic book movie role and Michael Chiklis of FX cop drama, The Shield. Chiklis in latex, as opposed to CGI, as the Thing looked all right. Rounding up the cast was Australian actor, Julian McMahon who, much like with Chiklis, was achieving success on the small screen in Nip/Tuck as Christian Troy. Dr Doom was the biggest weak spot; despite being the main villain, he was neither imposing nor could be taken seriously as one.
Back in 2018, I commented on and reviewed 2015's iteration of Fantastic Four, which was and still stands as one of the worst superhero films of all-time. With that being said, and given the vitriol 2005's movie received, I had to revisit this one thoroughly this time around to see if it is that bad. Well, surprisingly, I found it to be enjoyable in places and somehow, the casting worked - though in contrast to the 2015 Fantastic Four, there seemed to be a bit more charm with this one and is a tad more entertaining than I'd thought it would be.
There were aspects of the story that didn't hold up all the way through, and the characters lack that something to make them stand out amongst other superheroes such as the X-Men, The Avengers; yet in Chris Evans and Michael Chiklis, they were by far the standouts in the entire film. It was really interesting to see Evans as Johnny Storm aka The Human Torch and pre-Captain America and before he became really big; when you give an actor like Evans a character with a big personality to back up his skills and abilities when it comes to the action elements, you can see him come to life, and as a result, he excels as a character actor. He demonstrated this in the indie fare, The Losers, as Captain America and in the first big Fantastic Four movie.
However, Jessica Alba and Ioan Gruffudd's roles seem underwritten and underwhelming, as much as they try to do their best in their performances. Along with Evans, Chiklis, it at least to me it felt like I could buy into them onscreen as a team and as a family. I still take this Fantastic Four over the 2015 casting, which looked out of sorts and had no chemistry, no charm, no synergy. The dialogue, in this one, is a give and take thing, and whilst it lacks style, the turns by Evans and Chiklis just about keep the Fantastic Four together, - and just about.
The mid-2000s special effects via the $100 million budget, are still decent to this day, and honestly, as a whole, it wasn't too bad as a film; I had fun with it and went along for the ride, and it was fairly solid and enjoyable.
Final Verdict:
It's definitely not a complete bomb as a film as critics have stated at the time of its release and today as it has its bright spots; it embraces the spectacle aspect that is found in movies such as this and goes out of its way to entertain.
2015's Fantastic Four has nothing, and I say absolutely nothing, on this one.
From Britney to Whitney and other biographical offerings, Lifetime movies have been pretty terrible, and it is no record that Whitney's family made no secret of their loathing towards this one. Oddly, it jumps straight into the late 1980s where she broke out with I Wanna Dance with Somebody. Too much about Bobby Brown (this is a film that is supposed to be about Whitney, after all), also Deborah Cox is a fantastic singer, but why have her or anyone else sing Whitney's songs? Doesn't make sense, whatsoever. There is a glaring omission of the darker details of Whitney and Bobby's troubled relationship, i.e., the domestic assaults, and the sex scenes, are, well... (and what is with the choice of reggae music playing as they have sex in one of them?) A stiff, low budget film - directed by none other than Angela Bassett, shock horror - that skimps out on the most important and crucial moments and successes of Whitney's life and career and focusing on her ups and downs with Bobby Brown and presenting Whitney in a negative light, and one that is exploitative. Whitney Houston fans will be unimpressed when and after they see this. I'm hoping the upcoming I Wanna Dance with Somebody will be the movie that will do justice to Whitney's pop legacy, - unlike Whitney, well make that Whitney and Bobby. More like propping up Bobby Brown and playing down Whitney.
Is It Worth Watching?
I came for Whitney, but what I got was Whitney's lows, and Bobby. Don't bother
Steps was formed in 1997 by Steve Crosby and Barry Upton after the members answered an advert in The Stage newspaper to attend an open audition for a 5-piece British line dancing pop group; originally with Ian ''H'' Watkins, Lisa Scott-Lee, Maddy Chan and two other male members, the latter three members left and were replaced with Tozer, Latchford-Evans and Richards. The final line-up consisted of Lee Latchford-Evans, Claire Richards, Scott-Lee, Faye Tozer and H; Steps got their name from the marketing premise that their songs were choreographed, and the steps would be included in the CD sleeves.
Having had a listen of their discography via YouTube and Wikipedia, it turns out that Steps are a pop group who are unfairly dubbed as being cheesy that caters to teenyboppers and kiddies alike; the general consensus may be that 5,6,7,8 and Tragedy is Steps, yet thorough listens of their other songs, including non-singles that didn't chart on the top 40, reveal Steps' discography is far more varied than what might one would imagine, and as such they have plenty of great material. For me, they are a guilty pleasure, much like listening to any Stock Aitken and Waterman- produced song.
2022 sees Steps celebrating 25 years of being in pop industry; the group's sting in the late 1990s/early 2000s', under the Pete Waterman partnership & through Max Martin's Cheiron studios musical output, is still etched in pop lovers' & Steps Fans' memory.
1. Say You'll Be Mine (1999) - one part of the double- A sided single with Better the Devil You Know as its sister counterpart, this was the better and chirpier single release compared to that of Heartbeat of Heartbeat/Tragedy. Still underrated today, complete with a video that has the group paying homage to, & re-enacting scenes from various Hollywood movies of the nineties.
2. Deeper Shade of Blue (1999) - surprisingly not one of the group's biggest chart successes, which is truly saying something; the song that even some of the biggest detractors and non-fans of Steps begrudgingly admire. Originally stated as a Tina Cousins' release, it came out of nowhere, but the biggest surprise was it came from a group that did the cover of Tragedy by the Bee Gees. Musically, with its club beat, this edgier- and superior bop is a world away from the cheesy 5,6,7,8 and Last Thing on my Mind. The most un-Steps song, and yet still one of their very best.
3. Here and Now (2001)- rarely considered by so many as one of Steps' finest & is one of the group's lowest selling singles, Here & Now is great than one would give credit to as a Steps' song; it definitely has that same up-tempo feel as Britney Spears' early 2000s output - it was penned by Andreas Carlsson (who did the Backstreet Boys' I Want it That Way) & Ali Thompson. Was part of the group's 4th double-A side single release when paired with You'll Be Sorry
4. Stomp (2000) - '70s disco-inspired bopper that riffs on Chic's 1978's Everybody Dance with a catchy chorus that became the group's second consecutive chart topper. Yes, that rhymes.
5. No More Tears on the Dance Floor (2017)- cowritten by ex-Savage Garden's Darren Hayes, No More Tears... is an Anders cover that deserved a single release and a music video to go with it. Vocally, Claire is at her peak, whilst it allows male counterpart, Latchford-Evans to step forward and deliver a verse on his own.
6. Paradise Lost (2000)- if Ace of Base's The Sign & Madonna's La Isla Bonita had a love child, then Paradise Lost would be it; this often-overlooked mid-tempo, Latino-inspired offering was performed as a medley on their tours with H & Lee's rendition of Luis Fonsi & Justin Bieber's Despacito and Summer of Love. Really impressive and one of the 'must've been single' releases.
7. Summer of Love (2000)- Euphoric Latin-fueled summer dance banger, which came out in the midst of the Ricky Martin, J-Lo and Enrique Iglesias dominance of the pop charts in the same year & reached #5 in the U.K with When I Said Goodbye as a double-A sided single
8. Happy Go Lucky (2000) - another Ace-of-Base-ish -sounding song; song featured on The Princess Diaries movie soundtrack; is incredibly infectious
9. Better the Devil You Know (1999) - cover version of the Kylie Minogue hit that whilst composition-wise and vocally, brings nothing new, it is still an overly decent song
10. To the Beat of My Heart (2021) - taken from their 6th studio album To the Beat of My Heart, this one was cowritten by Sarah Thompson, Brian Higgins, MNEK and The Saturdays' Molly King. A drastic change from their much earlier efforts of the 1990s, it is edgier, more club-based and hipper, and plus, it is not bad as a record.
Notable Mentions: Last Thing on My Mind, Love's Got a Hold of my Heart, To Be your Hero, You'll be Sorry, Buzzz, Too Busy Thinking 'Bout My Baby, Words Are Not Enough, Dancing With A Broken Heart, Human Touch, Scared of the Dark, Take Me For a Ride, Kiss of Life, The Slightest Touch, High, In It For Love, Turn Around
Considered one of the greatest and most legendary pop stars and divas of all time, Cher's startling career spans over 7 decades (crikey): with her beginnings as one half of Sonny and Cher, she later on pursued a solo pop career. A trendsetter in fashion, music, movies and an icon, she has consolidated her place alongside the likes of Madonna, Tina Turner and countless other female pop singers; alas, there are very, very few singers/performers who have sustained longevity through a back catalogue that goes as far back as the 1960s. In 2017, Cher nabbed the Billboard Icon Award. She also made history by becoming the only artist to have a #1 single on the Billboard chart in 6 decades.
1998's Believe was huge, but it was also autotuned. Her distinctive voice, - which in general without the dance beat and autotune-, is incredible - was autotuned; comparing that song to her efforts from the 1980s and 1990s where they were leaning towards soft-rock and she switched gears from soft-rock to Motown, briefly that is, to adult contemporary, dance and back to pop through her ABBA covers, the consensus is that her older, classic material still rules.
I've seen a lot of comments made about Cher in regard to her having plastic surgery, moreso than her vocals. Of all the female powerhouse pop vocalists of the 20th century, I would cite Cher, Celine Dion, Whitney Houston, Tina Turner, Donna Summer, and Aretha Franklin, but a couple in that list.
Here are my selections when it comes to Cher's songs:
1. Love and Understanding (1991) - one of the best songs written for her, produced by Guy Roche (Celine Dion's If You Asked Me To & Brandy's Almost Doesn't Count), and performed by Cher, it is hugely uplifting, and rousing, framed with orchestral strings and a rock beat; though it is not as widely known as Turn Back Time and Believe, Love and Understanding is, nonetheless, musically and lyrically fantastic. Yet it doesn't get enough praise and recognition, which is a shame. It is though my ultimate top Cher pick
2. If I Could Turn Back Time (1989) - a quintessential power ballad of the 1980s and written by one of the greatest songwriters, Diane Warren (who was also responsible for Love and Understanding) that still stands the test of time, 4 decades later. If I Could Turn Back Time was and still, is also the iconic & grandiose anthem that propelled Cher's pop career in a big way & it helped her gain worldwide recognition. After her disco-themed work of the 1970s, tracks such as If I Could Turn Back Time and You Wouldn't Know Love in the 1980s enabled Cher to break new ground in the soft rock-pop vein.
3. Not Enough Love in The World (1995) - the third single off It's A Man's World album originally performed by Don Henley as a soft rock song; production and vocal-wise, I prefer this one over the original. The LP itself contains several cover versions from male artists; the other notable one is Walking in Memphis. The 1995 version of Not Enough Love in The World has a more contemporary '90s- pop feel and as cover versions by Cher go, this is one of her best -yet also it is vastly (& criminally) overlooked; moving, swaying, very catchy, but also through It's A Man's World, it amounts to being what is, sound-wise, and arguably her most mature album to date.
4. The Shoop Shoop Song (It's In His Kiss) (1990) - another cover made famous by Cher and was on the soundtrack of the comedy-drama, Mermaids, this version topped the charts. With her powerhouse vocals, she has always been able to belt out a song in a distinctive voice too. Motown-ish and harking back to the 1960s with the original by Betty Everett, The Shoop Shoop Song became Cher's first solo #1 song in the U.K
5. All or Nothing (1999) - the follow-up to the massive Believe and Strong Enough, it leans more towards the former as a dance-pop number and yet compared to those two songs, isn't and wasn't as massive although it charted at #1 in the U.S on the dance club songs and did extremely well in the Czech Republic, Finland and Hungary. However, it didn't chart on the U.S Billboard Hot 100. Whilst many will opt for Believe, it is All or Nothing as my pick out of her dance-pop efforts
6. Just Like Jesse James (1989) - one of Cher's least favourites, which is saying something as lyrically and musically, it is amazing. This country-style bop has a slower pace (it is very restrained) and it takes a while until it gets to the chorus but the production and musically, it is so polished. The title is in reference to the real-life wild West bandit, Jesse James
7. I'll Never Stop Loving You (1991) - Heart did a version of this song as well, one year earlier and did it first; a melodic power ballad and a hidden gem that shouldn't be slept on. Its composition sounds like something that is being sung at the Olympics or on presidential inauguration day
8. Walking In Memphis (1995) - a cover of the Marc Cohan track, released in the mid-1990s, this rendition rocks. Never quite understood the criticism Cher received for it. Cher's take is livelier and more listenable in contrast to the original.
9. Perfection featuring Bonnie Tyler and Darlene Love (1987)tied with Working Girl- this rocker is akin to Emotional Fire, the latter, Working Girl, remained an unreleased track, and another one that showcases Cher's vocal range
10. You Wouldn't Know Love (1989) - lyrics by Michael Bolton, who also recorded his own version, and sandwiched in-between Just like Jesse James and Heart of Stone, composition-wise. Bolton's rendition has a little bit of soul, whereas this one goes down the soft-rock MOR, power ballad route, laced with backing vocals & a booming and rousing chorus
Honourable Mentions: *Save Up All Your Tears, *Could've Been You, When Love Calls Your Name, *I Found Someone, *We All Sleep Alone, One by One (UK version), Believe, *Emotional Fire, Starting Over, Takin' Back My Heart, Alive Again, Real Love, Name of the Game, *Gypsies Tramps & Thieves, *Dangerous Times, Different Kind of Love Song, Still in Love With You, Starting Over, *Dov'e I'amore (remix), The Greatest Thing feat. Lady Gaga, *Woman's World, *Red, Love So High
Cast: Demi Moore, Glenne Headly, Bruce Willis, Harvey Keitel
Genre: Neo-Noir Thriller
Worldwide Box Office Gross: over $18 million
Plot: Two detectives interrogate a hairdresser on two homicides she may or may not have been involved in
'Better Than I Thought It Would Be'
Alan Rudolph may not be a name familiar to most people; as an associate of Robert Altman's, his filmography consists of B-movies and non-typical Hollywood films very few have come across before. Mortal Thoughts is the most commercial offering to date of his still in his take on domestic violence and one that manages to be engaging through its plot, but it is, unfortunately, let down by the unraveling of the culprit that makes little to no sense to the viewer, whatsoever.
Two working-class gals/ friends who run a beauty parlour in New Jersey, New York, make a mess out of a situation that goes wrong; their husbands, however, are arguably two of the worst characters in the film: one is a calm-yet boorish salesman, the other is an abusive, obnoxious lout who is also an alcoholic. The women discuss killing James (Bruce Willis) and getting away with it, as he was a criminal and abusive. One of the men gets killed and cops are trying to get to the bottom of who did it, by interrogating Moore's character, Cynthia.
Considered bleak and cold by critics when it was released in 1991, watching it today it works much better on the small screen. Mortal Thoughts feels more like a made-for-TV film, judging by the way it comes across and as the film progresses, its neo-noir-Esque, murder-mystery story, which goes back-& forth, becomes engaging. Yes, it feels tawdry and yet Randolph takes the material, and the characters and manages to get the best out of those aspects, as well as out of Moore and Headley. The bits and pieces of Cynthia's version of events come together to form an intricate- yet conflicting whole, up until the ending, and one that I didn't like, which let the film down. In her self-defence, she was innocent; I wished the film had stressed this part.
Performance-wise, as Demi Moore's follow-up to Ghost, she completely nails it, and her character has a tad more depth by comparison. With bigger hair, her role as Cynthia was a complete departure, after coming off the back of her success in Ghost; spirited but also it was a compelling performance that has never been bettered, before and after Mortal Thoughts. Glenne Headly was also a tour-de-force, whilst a low-key turn by Harvey Keitel was impressive. Bruce Willis was okay, but his character was a total douche and obnoxious; still, it made an interesting change to see him play someone we couldn't root for.
Final Verdict:
Suffice it to say as Modern film noirs go, Mortal Thoughts has its surprises and is occasionally tense, with moments that kept me intrigued.
