Film review: 'Kull the Conqueror'
A Robert E. Howard-inspired sword-and-sorcery adventure with insufficient gore, memorable humor and cinematic brawn to capture the fancy of moviegoers in a big way, "Kull the Conqueror" is mainly notable for the feature-film launch of Kevin Sorbo, star of Universal Television's "Hercules: The Legendary Journeys."
Alas, the wooden and clean-cut Sorbo is a major reason the weakly realized lead character undermines the overall production. Feeling rushed despite a long gestation period, the Universal Pictures release will not conquer the boxoffice. Originally intended as a third "Conan" film, the current project's advertising oddly makes little mention of Howard and the genre track record of "Kull" producer Raffaella De Laurentiis.
The feature debut of veteran television producer-director John Nicolella ("Miami Vice", "Nash Bridges"), "Kull the Conqueror" is only mildly arousing in the battle scenes, and the special effects are lackluster. The whole enterprise is far removed from the serious, bloody moods of Howard, and it's hard to get used to the heavy-metal guitar on the soundtrack in a milieu that passingly evokes the wide-screen splendor of costume epics of yore (mainly "Spartacus" and "The Vikings").
"Kull" has flashes of the unique mystery and humor of Howard's original character and stories, but starting with a confusing first act, the story line never grabs one and the major set pieces are underwhelming. Credited to writer Charles Edward Pogue ("Dragonheart") but retooled when Sorbo came on board, the overall scenario and dialogue lacks passion and its internal logic is shaky. A lot of story is packed in when it's done, but the pacing is uneven, with Nicolella and the actors not achieving much success in refining the characters beyond initial broad strokes.
Kull of Atlantis (Sorbo) is a hunky ex-slave and ex-pirate in "prehistory" (before even Conan) who quickly becomes king of Valusia, but is opposed by an ancient sorceress whose corpse is revived by the ominously burning "Flame of Acheron" -- a reminder of even darker times -- housed atop a hill near the bustling city-state.
Inheriting a pack of scheming nobles, a harem and other trappings and troubles of power, King Kull is easily snared by the revived Akivasha (Tia Carrere), a 3,000-year-old evil being in the guise of a barbarian queen. A pretty but stubborn slave in his keep, Zareta (Karina Lombard) tries to warn Kull but the big lug is bewitched and dethroned.
Both Litefoot ("The Indian in the Cupboard") as a priest loyal to Kull and Thomas Ian Griffith ("The Rock Hudson Story") -- who once was considered for the lead role -- as Valusia's army commander cut more striking figures than Sorbo. When fugitives Kull and Zareta seek passage to an icy island in a quest to defeat Akivasha, they encounter the amusing Harvey Fierstein as a shifty operator and Kull's fair-weather friend.
In the battle of the actresses, Carrere finds the groove and vamps it up enough to at least distract one from the uninspired production design and costumes. Lombard is either miscast or misdirected, giving off little warmth and generating few sparks with the lead.
KULL THE CONQUEROR
Universal Pictures
A Raffaella De Laurentiis production
Director John Nicolella
Producer Raffaella De Laurentiis
Screenwriter Charles Edward Pogue
Executive producers Beverlee Dean,
Jeff Franklin, Steve Waterman
Director of photography Rodney Charters
Production designer Benjamin Fernandez
Editor Dallas Puett
Music Joel Goldsmith
Costume designers Thomas Casterline,
Sibylle Ulsamer
Special effects supervisor Kit West
Visual effects supervisor Richard Malzahn
Casting Jeffrey Passero,
Elizabeth Hayden-Passero
Color/stereo
Cast:
Kull Kevin Sorbo
Akivasha Tia Carrere
Taligaro Thomas Ian Griffith
Ascalante Litefoot
Juba Harvey Fierstein
Zareta Karina Lombard
Running time -- 94 minutes
MPAA rating: PG-13...
Alas, the wooden and clean-cut Sorbo is a major reason the weakly realized lead character undermines the overall production. Feeling rushed despite a long gestation period, the Universal Pictures release will not conquer the boxoffice. Originally intended as a third "Conan" film, the current project's advertising oddly makes little mention of Howard and the genre track record of "Kull" producer Raffaella De Laurentiis.
The feature debut of veteran television producer-director John Nicolella ("Miami Vice", "Nash Bridges"), "Kull the Conqueror" is only mildly arousing in the battle scenes, and the special effects are lackluster. The whole enterprise is far removed from the serious, bloody moods of Howard, and it's hard to get used to the heavy-metal guitar on the soundtrack in a milieu that passingly evokes the wide-screen splendor of costume epics of yore (mainly "Spartacus" and "The Vikings").
"Kull" has flashes of the unique mystery and humor of Howard's original character and stories, but starting with a confusing first act, the story line never grabs one and the major set pieces are underwhelming. Credited to writer Charles Edward Pogue ("Dragonheart") but retooled when Sorbo came on board, the overall scenario and dialogue lacks passion and its internal logic is shaky. A lot of story is packed in when it's done, but the pacing is uneven, with Nicolella and the actors not achieving much success in refining the characters beyond initial broad strokes.
Kull of Atlantis (Sorbo) is a hunky ex-slave and ex-pirate in "prehistory" (before even Conan) who quickly becomes king of Valusia, but is opposed by an ancient sorceress whose corpse is revived by the ominously burning "Flame of Acheron" -- a reminder of even darker times -- housed atop a hill near the bustling city-state.
Inheriting a pack of scheming nobles, a harem and other trappings and troubles of power, King Kull is easily snared by the revived Akivasha (Tia Carrere), a 3,000-year-old evil being in the guise of a barbarian queen. A pretty but stubborn slave in his keep, Zareta (Karina Lombard) tries to warn Kull but the big lug is bewitched and dethroned.
Both Litefoot ("The Indian in the Cupboard") as a priest loyal to Kull and Thomas Ian Griffith ("The Rock Hudson Story") -- who once was considered for the lead role -- as Valusia's army commander cut more striking figures than Sorbo. When fugitives Kull and Zareta seek passage to an icy island in a quest to defeat Akivasha, they encounter the amusing Harvey Fierstein as a shifty operator and Kull's fair-weather friend.
In the battle of the actresses, Carrere finds the groove and vamps it up enough to at least distract one from the uninspired production design and costumes. Lombard is either miscast or misdirected, giving off little warmth and generating few sparks with the lead.
KULL THE CONQUEROR
Universal Pictures
A Raffaella De Laurentiis production
Director John Nicolella
Producer Raffaella De Laurentiis
Screenwriter Charles Edward Pogue
Executive producers Beverlee Dean,
Jeff Franklin, Steve Waterman
Director of photography Rodney Charters
Production designer Benjamin Fernandez
Editor Dallas Puett
Music Joel Goldsmith
Costume designers Thomas Casterline,
Sibylle Ulsamer
Special effects supervisor Kit West
Visual effects supervisor Richard Malzahn
Casting Jeffrey Passero,
Elizabeth Hayden-Passero
Color/stereo
Cast:
Kull Kevin Sorbo
Akivasha Tia Carrere
Taligaro Thomas Ian Griffith
Ascalante Litefoot
Juba Harvey Fierstein
Zareta Karina Lombard
Running time -- 94 minutes
MPAA rating: PG-13...
- 8/25/1997
- The Hollywood Reporter - Movie News
Film review: 'Daylight'
"Daylight" is a horizontal "Towering Inferno", a sideways action-disaster movie set in New York's Holland Tunnel. Starring Syl-vester Stallone in his most appealing type of role, an ordinary Joe who selflessly charges in to the rescue, "Daylight" should see mountains of greenbacks at the end of its boxoffice tunnel. Positioned by itself as the lone big actioner of December, this highly charged, subterranean twister will have its strongest appeal among meat-and-potatoes Middle Americans.
In this shrewdly honed variation on the disaster formula, screenwriter Leslie Bohem has converged a prototypically diverse set of characters into the tunnel that connects New York and New Jersey. What sets off the story is an explosion, detonated by a caravan of trucks carrying toxic waste to New Jersey, presumably Tromaville. The destruction is instantaneous -- firestorms, raging waters, collapsing stone. It's as if the tunnel has turned into a fiery microwave.
Witness to this is a cab driver, Kit Latura (Stallone), who pulls up to the tunnel just as it explodes. Not surprisingly, Kit is no ordinary hack; in fact, he's the former head of Emergency Medical Services who, before he was fired in disgrace, made an impact study of the tunnel and how emergency operations should be conducted. Kit charges into action.
Smartly intercutting between the hellacious conditions inside the tunnel as a ragtag band of survivors struggle to get out and the chaos up top in the rescue headquarters, the story clips along faster than a lit fuse. Unfortunately, the survivors inside are a generally lackluster lot even by the standards of people headed toward New Jersey.
But it's Kit's unflinching bravery and courageous efforts that are the scenario's central, winning thrust. Indeed, Kit's heroics in getting inside the tunnel are monumental. Once inside, he must not only devise a way to get them out -- both ends of the tunnel are sealed by the debris -- but inspire them not to psychologically self-destruct.
Although there are no flying cows here, "Daylight" is jammed with ferocious natural horrors. All the elements of nature -- fire, water, stone -- bond in awful fury and director Rob Cohen has expertly harnessed them in this cinematic salvo and unleashed them in an acceleratingly exciting cadence. When the narrative slows to its obligatory character identifications and back stories, the dialogue tends to drivel, especially in exchanges between Kit and the female-of-action (Amy Brenneman). Fortunately, before things can get too soggy, there's always another explosion.
Undeniably, the brightest spots of "Daylight" are in the monstrous pyrotechnics and the subterranean, cliffhanger exploits of the not-so-ordinary Kit. Truly, Stallone shows his best stuff here, combining the sweet nature of a genuinely selfless man with the athleticism and bravery of a true hero. Among the supporting players, George Tyrell and Vanessa Bell Calloway are most sympathetic as a loving couple -- he in the tunnel, she in the control room.
Under Cohen's kinetic direction, the technical team has created a towering colossus. Praise goes to cinematographer David Eggby for the searing scopes and to composer Randy Edelman for the fittingly titanic music. As usual, the maestros at Industrial Light & Magic have conjured up stupendous visual effects. A key ingredient to the film's excitement and visceral power is the stunning sound design. The rumblings, the roarings, the ragings are magnificently captured by the skilled sound team.
DAYLIGHT
Universal Pictures
A Davis Entertainment/Joseph M. Singer production
A Rob Cohen film
Producers John Davis, Joseph M. Singer,
David T. Friendly
Director Rob Cohen
Screenwriter Leslie Bohem
Executive producer Raffaella De Laurentiis
Co-producer Hester Hargett
Director of photography David Eggby
Production designer Benjamin Fernandez
Editor Peter Amundson
Music Randy Edelman
Costume designers Thomas Casterline,
Isis Mussenden
Special effects supervisor Kit West
Visual effects supervisor Scott Farrar
Casting Margery Simkin
Supervising sound editors Richard L. Anderson, David A. Whittaker
Rerecording mixers Michael Casper,
Daniel J. Leahy
Color/stereo
Cast:
Kit Latura Sylvester Stallone
Madelyne Thompson Amy Brenneman
Roy Nord Viggo Mortensen
Frank Kraft Dan Hedaya
Steven Crighton Jay O. Sanders
Sarah Crighton Karen Young
Eleanor Trilling Claire Bloom
Grace Vanessa Bell Calloway
Mikey Renoly Santiago
Roger Trilling Colin Fox
Running time -- 109 minutes
MPAA rating: PG-13...
In this shrewdly honed variation on the disaster formula, screenwriter Leslie Bohem has converged a prototypically diverse set of characters into the tunnel that connects New York and New Jersey. What sets off the story is an explosion, detonated by a caravan of trucks carrying toxic waste to New Jersey, presumably Tromaville. The destruction is instantaneous -- firestorms, raging waters, collapsing stone. It's as if the tunnel has turned into a fiery microwave.
Witness to this is a cab driver, Kit Latura (Stallone), who pulls up to the tunnel just as it explodes. Not surprisingly, Kit is no ordinary hack; in fact, he's the former head of Emergency Medical Services who, before he was fired in disgrace, made an impact study of the tunnel and how emergency operations should be conducted. Kit charges into action.
Smartly intercutting between the hellacious conditions inside the tunnel as a ragtag band of survivors struggle to get out and the chaos up top in the rescue headquarters, the story clips along faster than a lit fuse. Unfortunately, the survivors inside are a generally lackluster lot even by the standards of people headed toward New Jersey.
But it's Kit's unflinching bravery and courageous efforts that are the scenario's central, winning thrust. Indeed, Kit's heroics in getting inside the tunnel are monumental. Once inside, he must not only devise a way to get them out -- both ends of the tunnel are sealed by the debris -- but inspire them not to psychologically self-destruct.
Although there are no flying cows here, "Daylight" is jammed with ferocious natural horrors. All the elements of nature -- fire, water, stone -- bond in awful fury and director Rob Cohen has expertly harnessed them in this cinematic salvo and unleashed them in an acceleratingly exciting cadence. When the narrative slows to its obligatory character identifications and back stories, the dialogue tends to drivel, especially in exchanges between Kit and the female-of-action (Amy Brenneman). Fortunately, before things can get too soggy, there's always another explosion.
Undeniably, the brightest spots of "Daylight" are in the monstrous pyrotechnics and the subterranean, cliffhanger exploits of the not-so-ordinary Kit. Truly, Stallone shows his best stuff here, combining the sweet nature of a genuinely selfless man with the athleticism and bravery of a true hero. Among the supporting players, George Tyrell and Vanessa Bell Calloway are most sympathetic as a loving couple -- he in the tunnel, she in the control room.
Under Cohen's kinetic direction, the technical team has created a towering colossus. Praise goes to cinematographer David Eggby for the searing scopes and to composer Randy Edelman for the fittingly titanic music. As usual, the maestros at Industrial Light & Magic have conjured up stupendous visual effects. A key ingredient to the film's excitement and visceral power is the stunning sound design. The rumblings, the roarings, the ragings are magnificently captured by the skilled sound team.
DAYLIGHT
Universal Pictures
A Davis Entertainment/Joseph M. Singer production
A Rob Cohen film
Producers John Davis, Joseph M. Singer,
David T. Friendly
Director Rob Cohen
Screenwriter Leslie Bohem
Executive producer Raffaella De Laurentiis
Co-producer Hester Hargett
Director of photography David Eggby
Production designer Benjamin Fernandez
Editor Peter Amundson
Music Randy Edelman
Costume designers Thomas Casterline,
Isis Mussenden
Special effects supervisor Kit West
Visual effects supervisor Scott Farrar
Casting Margery Simkin
Supervising sound editors Richard L. Anderson, David A. Whittaker
Rerecording mixers Michael Casper,
Daniel J. Leahy
Color/stereo
Cast:
Kit Latura Sylvester Stallone
Madelyne Thompson Amy Brenneman
Roy Nord Viggo Mortensen
Frank Kraft Dan Hedaya
Steven Crighton Jay O. Sanders
Sarah Crighton Karen Young
Eleanor Trilling Claire Bloom
Grace Vanessa Bell Calloway
Mikey Renoly Santiago
Roger Trilling Colin Fox
Running time -- 109 minutes
MPAA rating: PG-13...
- 12/2/1996
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.