Film Review: Executive Decision (dir by Stuart Baird)


In 1996’s Executive Decision, terrorists hijack an airplane.  Their leader, Nagi Hassan (David Suchet) demands that the U.S. government not only give him and his men safe passage but that they also release Hassan’s commander, Jaffa (Andreas Katsulas).

In Washington D.C., it is decide to use a stealth plane to transport Col. Austin Travis (Steven Seagal) and his men into the passenger plane.  Accompanying them will be Dr. David Grant (Kurt Russell), a consultant for U.S. Intelligence.  Dr. Grant is the world’s leading expert on Hassan, even though neither he nor anyone else is even sure what Hassan looks like.  Travis distrusts Grant because he’s a civilian and also because he holds Grant responsible for a botched raid on a Russian safehouse in Italy.  Dr. Grant is going to have to prove himself to Col. Travis because Travis doesn’t have any time for people who can’t get the job done.  And Travis is determined to get on that plane and save all those passengers.

In other words, Travis is a typical Steven Seagal character and, for the first fourth of this movie, Seagal gives a typical Steven Seagal performance.  He delivers his line in his trademark intimidating whisper, he glares at everyone else in the film, and essentially comes across as being a total douchebag who can still handle himself in a fight..  However, when it’s time to board the airplane through a docking tunnel, something goes wrong.  Everyone — even nervous engineer Dennis Cahill (Oliver Platt) is able to slip through the stealth plane’s docking tunnel and get into the hijacked airplane cargo hold without being detected.  But the two planes are hit by severe turbulence.  Suddenly, it becomes apparent the one man is going to have to sacrifice his life and close the hatch before the docking tunnel decompresses.

David, already in the cargo hold, looks down at Austin in the tunnel.  “We’re not going to make it!”

“You are!” Austin replies before slamming the hatch shut and getting sucked out of the tunnel.  (There’s your Oscar Cheers Moment of 1996!)  After all that build-up, Steven Seagal exits the film early and now, it’s up to Kurt Russell and what’s left of Austin Travis’s men to somehow stop the terrorists.  Not only do they have to stop Hassan but they also have to do it before the Air Force — which has no way of knowing whether or not any of their men were able to get on the plane before the tunnel fell apart — shoots down the airliner.

(If the airplane looks familiar, that’s because Lost used the same stock footage whenever it flashed back to the plane crash that started the show.)

It’s actually a rather brilliant twist.  When this film came out, Seagal was still a film star.  He played characters who always got the job done and who were basically infallible.  He wasn’t a very good actor but he did manage to perfect an intimidating stare and that stare carried him through a lot of movies.  No one would have expected Seagal to die within the first 30 minutes of one of his movies and when Col. Travis, who the film has gone out of its way to portray as being the consummate warrior, is suddenly killed, there really is a moment where you find yourself wondering, “What are they going to do now?”  In just a matter of minutes, Executive Decision goes from being a predictable Steven Seagal action film to a genuinely exciting and clever Kurt Russell thriller.  For once, Russell is not playing a man of action.  He’s an analyst, a thinker.  And, to the film’s credit, he uses his mind more than his brawn to battle Hassan’s terrorists.  With excellent support from Halle Berry (as a flight attendant who discreetly helps out David and the soldiers), Oliver Platt, B.D. Wong, Whip Hubley,  David Suchet, Joe Morton, and even John Leguizamo (as Travis’s second-in-command), Executive Decision reveals itself to be an exciting and ultimately rewarding thrill ride.

And to think, all it took was sacrificing Steven Seagal.

Retro Television Review: Malibu CA 2.5 “Off The Deep End”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Thursdays, I will be reviewing Malibu CA, which aired in Syndication in 1998 and 1999.  The entire show is currently streaming on YouTube!

Yes, this is from the first season. I don’t care. I refuse to waste my time looking for a second season advertisement.

This week …. well, we’ll get to it in a minute.

Episode 2.5 “Off the Deep End”

(Dir by Gary Shimokawa, originally aired on November 6th, 1999)

Well, this is embarrassing.  I sat down, ready to face my weekly chore of watching the next episode of Malibu CA, and I promptly discovered that the fifth episode of season two has never been upload to YouTube.

Now, to be honest, this isn’t exactly a tragedy.  I don’t particularly like this show and it’s not like my reviews of an obscure sitcom from the 90s are responsible for much of this site’s daily traffic.  It does bother me as a completist.  If I ever find a free copy of this episode, I’ll review it.  But, to be honest, I’m not going to spend that much time looking.

Here’s the plot summary, via the imdb:

Peter has been ignoring Scott’s swim meets and now only three are left before the Olympic trials. Fearing that he’s doing the same thing to Scott now that he did to him when he was younger, Peter now tries to get as involved as possible. He’s taking care of Scott’s diet, hiring a masseuse, and making Jason do all the chores.

It’s tempting to try to review this episode without even watching it.  I’ve seen enough of these Peter Engel-produced teen sitcoms that I can imagine almost everything that probably happens in the episode, from Scott getting angry at Peter for being overbearing to Peter apologizing for not having been there for Scott in the past to Jason coming up with some crazy scheme to try to get Murray to do all the chores for him.  I’m pretty sure all of this happened to someone on Saved By The Bell: The New Class as well.

But no, I have my ethics.  I’ll wait until I can actually watch the episode and I say that with the full knowledge that I may never see the episode.  And I’m kind of okay with that.

Quickie Review: Field of Dreams (dir. by Phil Alden Robinson)


“The one constant through all the years, Ray, has been baseball. America has rolled by like an army of steamrollers. It has been erased like a blackboard, rebuilt and erased again. But baseball has marked the time.” — Terence Mann

I have always been a fan of baseball. I would say that baseball has been the one thing which has always remained constant for me throughout the years. Other sports may be flashier, faster and more violent, but baseball I’ve always equated as part of America’s national identity. This is why 1989’s Field Of Dreams by Phil Alden Robinson continues to resonate for me and for legions of baseball fans everywhere.

The film is based off of the W.P. Kinsella’s novel, Shoeless Joe, and tells the story of one Ray Kinsella and his titular field of dreams. It’s a film which sees Ray not just building a baseball field in his field of corn despite financial problems bringing him and his family closer to losing everything, but it also sees him traveling across the country to find a reclusive writer in Terence Mann (J.D. Salinger in the novel). It’s afilm which offers an insight to what makes baseball and the American identity so intertwined as the film finally offers Ray a chance to finally realize that the very baseball field he has built in his cornfield has granted many a second chance to realize their dream. For this film that dream is to be able to play baseball once more and this second chance becomes important to the ghosts of baseball’s past who have fallen from baseball’s grace through a scandal which had them banned from the game they love.

I’ve never been a big Kevin Costner fan, but his work in this film as Ray Kinsella showed me why people saw in him talent as an actor and not just a pretty face up on the screen. His real-life love for baseball shows in his performance as Ray whose own love for baseball becomes a personal journey for redemption and reunion with a father who also shared his love for the sport. The performances by Amy Madigan as Ray’s supportive wife was quite good and allowed the character not to be eclipsed by Costner’s excellent work as Ray. Even James Earl Jones as the writer Terence Mann gives the film a level of gravitas which just added to the film’s intimate yet epic nature. But it’s the breakout performance by Ray Liotta as the ghost of baseball great Shoeless Joe Jackson. Liotta’s screentime was limited to mostly in the latter part of the film, but his presence dominated every moment he was on the screen.

Field of Dreams has been called just a good baseball film by some, but for many people who have seen and loved it see it as more than just a film about baseball. It’s a film that shows Americana at it’s best and most nostalgic. Shows how one sport has become such a positive influence on the relationship between children and their fathers. It’s a film that dares to show genuine affection and love to the idea of letting someone follow their dream despite many outside influences and obstacles trying to get in their way. There’s a reason the film was nominated for an Oscar Best Picture. Even voters who are so used to rewarding films that look at the darker and more depressing side of the human condition could see the inherent quality in a film which looks at the brighter and more hopeful side of the equation.