Charlie's Angels (2000)
Country: US/GER
Technical: col/2.35:1 98m
Director: McG
Cast: Cameron Diaz, Drew Barrymore, Lucy Liu, Bill Murray, Sam Rockwell, Kelly Lynch, Tim Curry
Synopsis:
When a computer specialist invents a voice recognition software that converges with GPS technology, three highly trained freelance operatives find themselves employed to expose his kidnappers.
Review:
Columbia for some reason, no doubt prompted by the preponderance of superhero figures, such as The Phantom, and revived TV series, such as The X-Files, elected to resurrect this seventies TV classic, itself designed to fill the need for sex-and-violence lite evening entertainment following the success of The Bionic Woman and Wonder Woman. Mistake. Coyness no longer meant a bra-less Farrah Fawcett in lashings of lip gloss; instead we have endless shots of tightly attired bottoms and plunging cleavages. Meanwhile the comic-book violence grants heroines and villains alike more lives than a cat, and attempts at humour are lame in the extreme (Bill Murray turning a block of soap into a firearm with his teeth, anyone?) Indeed it is hard to fathom who might be more offended by this Fathom-like enterprise: feminists, environmentalists, the Japanese, or just people with the intelligence to wonder how the film-makers had the effrontery to credit them with so little. Film buffs may, incidentally, spot the steal from Deadlier than the Male (1965) in the opening sequence, from mid-air assassination to pickup by speed boat.
Country: US/GER
Technical: col/2.35:1 98m
Director: McG
Cast: Cameron Diaz, Drew Barrymore, Lucy Liu, Bill Murray, Sam Rockwell, Kelly Lynch, Tim Curry
Synopsis:
When a computer specialist invents a voice recognition software that converges with GPS technology, three highly trained freelance operatives find themselves employed to expose his kidnappers.
Review:
Columbia for some reason, no doubt prompted by the preponderance of superhero figures, such as The Phantom, and revived TV series, such as The X-Files, elected to resurrect this seventies TV classic, itself designed to fill the need for sex-and-violence lite evening entertainment following the success of The Bionic Woman and Wonder Woman. Mistake. Coyness no longer meant a bra-less Farrah Fawcett in lashings of lip gloss; instead we have endless shots of tightly attired bottoms and plunging cleavages. Meanwhile the comic-book violence grants heroines and villains alike more lives than a cat, and attempts at humour are lame in the extreme (Bill Murray turning a block of soap into a firearm with his teeth, anyone?) Indeed it is hard to fathom who might be more offended by this Fathom-like enterprise: feminists, environmentalists, the Japanese, or just people with the intelligence to wonder how the film-makers had the effrontery to credit them with so little. Film buffs may, incidentally, spot the steal from Deadlier than the Male (1965) in the opening sequence, from mid-air assassination to pickup by speed boat.
Country: US/GER
Technical: col/2.35:1 98m
Director: McG
Cast: Cameron Diaz, Drew Barrymore, Lucy Liu, Bill Murray, Sam Rockwell, Kelly Lynch, Tim Curry
Synopsis:
When a computer specialist invents a voice recognition software that converges with GPS technology, three highly trained freelance operatives find themselves employed to expose his kidnappers.
Review:
Columbia for some reason, no doubt prompted by the preponderance of superhero figures, such as The Phantom, and revived TV series, such as The X-Files, elected to resurrect this seventies TV classic, itself designed to fill the need for sex-and-violence lite evening entertainment following the success of The Bionic Woman and Wonder Woman. Mistake. Coyness no longer meant a bra-less Farrah Fawcett in lashings of lip gloss; instead we have endless shots of tightly attired bottoms and plunging cleavages. Meanwhile the comic-book violence grants heroines and villains alike more lives than a cat, and attempts at humour are lame in the extreme (Bill Murray turning a block of soap into a firearm with his teeth, anyone?) Indeed it is hard to fathom who might be more offended by this Fathom-like enterprise: feminists, environmentalists, the Japanese, or just people with the intelligence to wonder how the film-makers had the effrontery to credit them with so little. Film buffs may, incidentally, spot the steal from Deadlier than the Male (1965) in the opening sequence, from mid-air assassination to pickup by speed boat.