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Dan Owen reviews

Windtalkers

Distributed by
MGM


John Woo is having a career rollercoaster-ride in Hollywood. The legendary Hong Kong director responsible for such visceral thrills such as Hard Boiled" came to the USA with the weak Hard Target, then proceeded onto the mildly better Broken Arrow, before hitting the big-time with the high-octane Face/Off, then fell back into mediocrity Tom Cruise sequel Mission: Impossible 2.

Now comes Windtalkers, which should have been a return to form, but Woo's style is left looking clichéd and old-fashioned in a post-Matrix world where the realities of war have also been brutally rammed home by Saving Private Ryan and Black Hawk Down.

Windtalkers reveals the admittedly interesting fact that the Navajo Indian language was used during World War II by the United States as a code against Japanese enemy forces.

Nicola Cage (a Woo favourite after "Face/Off") plays Sgt Enders, a war-weary marine injured in a previous battle, who bluffs his way back into service. Enders is charged with protecting young Navajo code-talker Yahzee - with orders to kill Yahzee in the event he falls into enemy hands... to protect the code.


So, a palm-rubbingly enticing set-up is born. Sadly, the premise behind Windtalkers is the only original thing it brings to the "war movie" genre. Director Woo has a style that perfectly suits contemporary violence, but his technique looks unsuited to a period piece set in the 40s. Thankfully Woo reigns in his more clichéd hallmarks (although slow-motion and birds do make an appearance!), but it isn't enough to make an audience take Windtalkers seriously.

James Horner's bombastic music score plays annoyingly over most of the action scenes, totally destroying any whiff of reality audiences will be struggling to find. Extras seem to run into bullets on purpose, actors seem able to predict where Japanese soldiers will spring from as they wheel their, it's all very... staged. Stagnant. There's no vitality and raw energy on display - this is a war film that simply goes through the motions.

The screenplay by John Rice and John Batteer is riddled with clichés and steals from far greater war movies. The central focus of the movie is on the characters of Enders and Yahzee, yet the blooming of their friendship is clumsy and unbelievable throughout. By the end of the movie, when the audience should really care for these men... we don't. They're just two-dimensional grunts stuck in a formulaic movie with a below-par script to read from.

Nicolas Cage puts on his best angst-filled expression and is occasionally quite good, but the screenplay fails to give him anything meaty to chew on. For the most part he drifts through the movie with an annoyed expression, or barks orders to subordinates through the rat-a-tat of gunfire.

Adam Beach (Private Yahzee) is perhaps the real star, bringing an earnest humanity and believability to the young Navajo soldier. Unlike Cage, Beach manages to find some subtleties in the script to latch onto, but one good performance is worth nothing in a movie with a focus on a friendship between two men.

Christian Slater ("Broken Arrow") and the rest of the supporting cast make little impact on proceedings. Noah Emmerich plays a stereotyped racist bigot who considers Navajo's just as bad as 'The Japs', in a role that lacks originality but at least has some dramatic punch to occasionally.

The special-effects are generally quite good, but Woo's disregard for CGI reduces the impact some scenes could have had. Woo is forced to utilize CGI planes in a few short sequences, but uses footage of real US warships in the movie - and the results are embarrassingly obvious cuts between pristine celluloid and grainy archive tape.

Overall, I enjoyed "Windtalkers" on a very basic level. There are a few nice sequences, the premise is intriguing and there's a nice performance from Adam Beach. But, this is a by-the-numbers production that mainly fails because of a weak plot, a tired performance from Cage and a wrong choice of director.


Windtalkers Region 1 comes in an Amoray case with some excellent artwork (hell, the front cover could have become iconic if the film was any good!).

The animated menus are quite nicely designed - very fast loading, simple and effective shots from the movie in a narrow bar flanked by the sub-menu buttons. Very good.

The movie's 2.40:1 widescreen picture is anamorphic with no visible grain or damage to the print. Colours are lively and dark sequences are bewitchingly deep, but there are occasional instances of smearing in daylight scenes. But overall a great transfer.

The movie also comes in a Full-Screen version (on the reverse of the DVD-18 disk), which is just as vibrant - but ridiculously cropped. Come on, if you have DVD people should have really invested in a widescreen TV by now, or just "suffer" the 'black bars' on your 4:3 TV screen...

The Dolby Digital 5.1 mix is quite involving in chunks, but the overall effect is lacking. Unlike other war films you never feel like you're in the thick of the action throughout the movie, just for small moments when John Woo starts a particular action sequence. Standout moments generally involve the CGI airplane flyovers, bomb explosions and the obligatory gunfire. Dialogue is audible and strong throughout the movie.

Aaaaah! Like the Region 1 release of "Black Hawk Down", the movie comes with practically no extra features. We just have the Teaser Trailer and Theatrical Trailer (very good), with some additional trailers to publicize the release of "Die Another Day" and the James Bond DVD collection. Oh, and a DVD Production Credits list. Wow...

A total abomination. No doubt a 'Special Edition' is being worked on already for a late-2002/early-2003 release, so if you can wait - I'd advise it (DVDfeverfever.co.uk Ed: "...or, perhaps like Black Hawk Down, the Region 2 DVD will have all the necessaries that the Region 1 disc missed out on?")

FILM CONTENT
PICTURE QUALITY
SOUND QUALITY
EXTRAS



OVERALL

Review copyright © Dan Owen, 2002.

E-mail Dan Owen

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