Film Review: Fire on the Amazon (dir by Luis Llosa)


Released in 1993 and produced by none other than Roger Corman, Fire on the Amazon takes place in Bolivia.  Despite the protests of the indigenous population and the environmental activists who have flown down to support them, the Rain Forest is being destroyed by corporations, cattle ranchers, and military units.  After an activist named Rafael Santos (Eduardo Cesti) is assassinated, photojournalist R.J. O’Brien (Craig Sheffer) comes down to document the accused assassin’s trial.

R.J. tries to remain detached from the injustices that he sees around him.  Much like Robert Forster in Medium Cool, R.J. claims to be an observer and not a participant.  But then he meets an environmentalist named Alyssa Rothman (a pre-stardom Sandra Bullock) and he comes to realize that the Bolivian government is covering up the details of Santos’s death.  R.J. and Alyssa go deep into the Rain Forest, searching for evidence that can prove that the military was behind the assassination.  The military, of course, is determined to keep them from doing that.

Fire on the Amazon is a Roger Corman films with a social conscience.  It features several speeches about the importance of the Rain Forest and it ends with a title card informing viewers of how much of the Rain Forest was destroyed on a daily basis in 1993.  Whatever else one might have to say about the films that Corman has either produced or directed, he has always seemed very sincere when it comes to his messages.  That said, Corman has also always been very sincere in his belief that movies should make money and Fire on the Amazon doesn’t allow its environmental message to get in the way of the sex and violence that most of the film’s viewers were probably looking for.  The film actually feels a bit like a companion piece to The Forbidden Dance.  Yes, saving the Rain Forest is importance but so is doing the Lambada.

Today, if Fire on the Amazon is known for anything, it’s probably for the rather random sex scene featuring Sandra Bullock and Craig Sheffer.  To be honest, while the scene is graphic and lengthy, the only thing that sets it apart from other low-budget sex scenes is the fact that it features a future Oscar winner.  A huge problem with the scene is that there are next to no romantic sparks between Bullock and Craig Sheffer.  Indeed, Sheffer gives such a lifeless performance that, at one point, it appears that he’s actually fallen asleep during the big sex scene.  Fortunately, Sheffer sticks out his tongue long enough to let us know that he’s still alive.

Make no mistake about it, while Sandra Bullock may be the name that’s highlighted whenever this film shows up on a streaming site, Craig Sheffer is the star of the film.  The majority of the film focuses on him as he wanders around Bolivia and whines about having to do his job.  Though he’s certainly not helped by the film’s script, Sheffer gives a performance that alternates between sleep-walking and histrionic shouting.  The problem is that the only time Sheffer shows any emotion is when his character has been inconvenienced.  He can watch the police beat up a man without barely lifting an eyebrow but, as soon as he’s arrested and put in a cell, the audience is subjected to over a minute of Sheffer shrilly screaming, “Call the embassy!”

It would be nice to say that Sandra Bullock gives a performance that transcends the material but, unfortunately, she’s miscast as a somber activist and, worst of all, she gets stuck with the film’s worst line when she tells Sheffer to write about what “you feel and not what you see.”  It seems like better advice would be to do both but what do I know?  I mean, as of right now, it seems like people focusing on what they feel as opposed to what they see has led to a lot of problems but maybe the 90s were a simpler time.

Just a year after this film was released, Sandra Bullock would star in Speed and become a star.  This meant that Bullock would no longer be filming sex scenes in Roger Corman-produced eco-thrillers.  It also meant that Fire on the Amazon would forever be promoted on DVD and Blu-ray as being a “Sandra Bullock film” while Craig Sheffer would often go unmentioned.  (In Sheffer’s defense, he’s still acting and has given many performances that are a hundred times better than his work in Fire on the Amazon.)  If you want to see a good film about Sandra Bullock in the jungle, check out The Lost City.  If you want to see an entertaining environmentally-themed thriller from director Luis Llosa, check out Anaconda.  Worthy intentions aside, Fire on the Amazon is best avoided.

4 Shots From 4 Films: Anaconda, The Devil’s Advocate, I Know What You Did Last Summer, Scream 2


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

This October, we’re using 4 Shots From 4 Films to look at some of the best years that horror has to offer!

4 Shots From 4 1997 Horror Films

Anaconda (1997, dir by Luis Llosa)

The Devil’s Advocate (1997, dir by Taylor Hackford)

I Know What You Did Last Summer (1997, dir by Jim Gillepsie)

Scream 2 (1997, dir by Wes Craven)

Horror Film Review: Anaconda (dir by Luis Llosa)


In many ways, the 1997 monster film Anaconda is an incredibly dumb movie but let’s give credit where credit is for.  Whoever was in charge of casting this movie managed to assemble the most unlikely group of co-stars that you would ever expect to see in a movie about a documentary crew who run into a giant snake while sailing down the Amazon River.

I mean, let’s just consider the most familiar names in the cast.  Jennifer Lopez.  Ice Cube.  Jon Voight.  Owen freakin Wilson.  I mean, it’s not just that you wouldn’t expect to come across these four people all in the same movie.  It’s that they all seem to come from a totally different cinematic universe.  They’ve all got their own unique style of acting and seeing them all on the same small boat together is just bizarre.  You’ve got Jennifer Lopez, delivering her lines with a lot of conviction but not much sincerity.  And then you’ve got Ice Cube coolly looking over the Amazon and basically daring the giant snake to even think about trying to swallow him.  Owen Wilson is his usual quirky self, delivering his lines in his trademark Texas stoner drawl.  And then you’ve got Jon Voight.

Oh my God, Jon Voight.

Voight plays Paul Serone, a Paraguayan who says that he can help the documentary crew find an isolated Amazon tribe but who, once he gets on the boat, basically takes over and announces that he’s actually a snake hunter and he’s planning on capturing the biggest anaconda in existence.  It takes a while for the snake to show up.  When it finally does, it’s actually a pretty impressive throw-back to the type of cheesy by entertaining monsters that used to show up in drive-in movies back in the 50s and the 60s.  But really, the biggest special effect in the movie is Jon Voight.  Wisely, Voight doesn’t waste any time trying to be subtle or in anyway believable in the role of Serone.  Instead, Voight gives a performance that seems to be channeling the spirit of the infamous Klaus Kinski.  Voight growls, snarls, and glares as if the fate of the world depended upon it and he rips into his Paraguayan accent with all the ferocity of a character actor who understands the importance of being memorable in an otherwise forgettable movie.  It’s as if Voight showed up on set and looked at what was going and then said to himself, “Well, Jon, it’s all up to you.”  Serone is really a pretty vicious character.  I mean, he literally strangles a character to death with his legs!  But, thanks to Voight’s crazed energy he’s still the most compelling character in the movie.  It’s really scary to think about what the film would have been like without Voight shaking things up.  Along amongst the cast, Voight seems to understand just how silly Anaconda truly is.  Voight takes a rather middling monster movie and, through sheer force of will, manages to make it at least somewhat entertaining.

Personally, I’d like to see a remake of Anaconda, one that would feature the same cast but would be directed by Werner Herzog.  Just imagine if Herzog had told the story of that trip down the Amazon.  Gone would be the bland dialogue and rudimentary character motivations.  Instead, we’d have Jennifer Lopez slowly going insane while hundreds of monkey lay siege to the boat and Ice Cube musing on the never ending conflict between man and nature.  Herzog’s Anaconda would probably be just crazy enough to keep up with Jon Voight’s performance.

A Movie A Day #98: Crime Zone (1989, directed by Luis Llosa)


Welcome to the future.   To quote Leonard Cohen, it is murder.

The police state of Soleil is engaged in perpetual war with the nation of Frodan.  In Soleil, being rich means living a life of carefree decadence while the poor struggle to survive from day to day.  Criminals are routinely executed on live TV and the government forces women to work as prostitutes, servicing only the rich and powerful.  When Bone (Peter Nelson) and Helen (Sherilyn Fenn) meet, they break the law by falling in love.  Desperate to escape to the legendary paradise of Frodan, Bone and Helen accept an offer from the mysterious Jason (David Carradine).  If Bone and Helen agree to commit a series of crimes, Jason will help them escape Soleil.  Bone and Helen soon become the two most wanted criminals in Soleil but Jason may not be what he seems.

David Carrdine’s performance is typically strange and Crime Zone has a few interesting ideas but the main reason to see the movie is because of the performance of a pre-Twin Peaks Sherilyn Fenn.  As Helen, Sherilyn Fenn is sexy, tough, and always better than the material that she was given to work with.

Executive produced by Roger Corman, Crime Zone was an ambitious project that did not have the budget necessary to reach the heights of Blade Runner, Mad Max, A Clockwork Orange, or any of the other dystopian science fiction films that it tried to rip off.  Crime Zone was filmed, on location, in Peru but that mostly for a budgetary reasons.  Since almost the entire movie was shot on cramped and dark sound stages, it could have just as easily been filmed in West Baltimore.  To its credit, Crime Zone has more on its mind than a lot of the movies that Corman executive produced in the 1980s but the main reason to see it will always be Sherilyn Fenn.