reviews by Peter Schorn of The Digital Bits
2005 (2005) - Paramount/Bristol Bay (Paramount)
Film Rating: B-
Disc Ratings (Video/Audio/Extras): A-/B+/B-
Want to feel old? It's been SIXTEEN YEARS since Indiana
Jones and the Last Crusade roared across the silver
screen and into the sunset and in the interim we've been teased
by false alarms and fading promises of Indy riding again as soon
as Spielberg, Lucas and Ford (LLC) ever agree that their thumbs
are warm enough to saddle up one more (let's be honest - last)
Many candidates for the crown of "King of Rip-Roaring
Movie Adventure" have come and gone and with few exceptions
- Sky Captain and the World of
Tomorrow being one - many have missed the mark for
one reason or another. The latest contender is Sahara,
from the "Clive Cussler Dirk Pitt Adventure" of the
same name, and while it doesn't quite strike the mother lode, it
does offer some good old-fashioned big-screen adventure.
with a prologue showing the Confederate iron-clad ship, the Texas,
escaping Richmond and slipping through a Union blockade at the end
of the Civil War, we then leap to the present day with plucky W.H.O.
(World Health Organization) doctor Eva Rojas (Penelope Cruz) as she
tracks the source of a disease that's spreading in Nigeria. When
she's attacked by a mysterious black-garbed warrior, she's rescued
by Dirk Pitt (Matthew McConaughey).
Dirk's a renowned adventurer and he's got a lead on the location of
the Texas, which has somehow made it across the Atlantic and up the
river into Mali, currently desert and torn by their own civil war.
When Dirk and his sidekick, Al Giordino (Steve Zahn), head up the
river with an auxiliary sidekick to look for the fabled ship, they
give Eva and her doctor partner a ride upriver to aid their search,
dropping them along the way.
When Dirk and friends are attacked by troops looking for the
doctors, controlled by kleptocrat General Kazim (Lennie James), they
discover that there's more to this disease than first meets the eye
and that it may have something to do with an unctuous French
businessman, Yves Massarde (Lambert Wilson - working his Matrix
sequels Merovingian shtick again), who has a nifty solar incinerator
in the middle of the desert.
With mysterious diseases, mythic ships, warring factions,
camel/car/boat/train chases, a never-explained black-robed goon
(Darth Mustafa?) and Steve Zahn to juggle, there are a lot of balls
for director Breck Eisner (yes, the son of Disney destroyer,
Michael) to keep in the air, but with a script written by a
committee of four (credited) scribes, he doesn't prevent some from
What he does get right is the epic sense of scale a tale set in the
desert requires. Sweeping vistas of sand with cars and people mere
specks emphasize the isolation of the locations. Using
nearly-seamless CGI (except for things like the power plant which
are obviously impossible), the sands of Morocco where the film was
shot become the exotic alien locales of Mali and Nigeria and there's
a solidity in using hundreds of extras that tens of thousands of CG
minions still can't match, though digital tricks are used to
multiply the numbers.
The action set pieces are also triumphs of coherent shooting and
editing which nail the excitement without degenerating into Avid
overkill. (I'm looking at you, Michael Bay.) While it's not a "prestige"
release, here's to hoping that cinematographer Seamus McGarvey (The
Hours, High Fidelity)
and editor Andrew MacRitchie (Die Another
Day) get some Oscar love next winter. They make Sahara
a "movie" and not just a glorified music video.
While the action and adventure are in good hands, I couldn't help
but feel that I wasn't having much fun and I lay that at the
doorstep of the film's uneven tone and muddled script. There's just
something not-very-fun about African civil war, peasants dying of
pollution and ill-explained corporate greed and it drags the film
down. Sure, the Indiana Jones
movies had the ever-boo-hissable Nazis, but it wasn't like we took a
trip through the camps, you know? The pitch-dark Temple
of Doom never quite overcame its brutality to children
and heaviness weighs down Sahara,
Adding to the disconnect is the casting of McConaughey and Zahn -
they're supposed to be elite ex-Navy sailor/adventurers, but the
comic slant of their performances had me half-expecting them to
start complaining about the lame surfing in the desert. While Clive
Cussler had approval over the cast and McConaughey labored for years
to get this film on screen (he's an Executive Producer), he just
wasn't believable in this context. If the film was lighter in tone,
then sure, it would've been fine, but with heavy story comes the
need for a lead with gravitas and naked bongo boy isn't it. It's not
that he's not charming and Zahn's not funny, but that they don't
match the tone of the darker scenes.
As for Cruz - the poor man's Salma Hayek - she starts off the movie
a covered-up doctor and ends up presenting bounteous bosoms bursting
forth from a black tank top, covered in dirt, yet still looking sexy
in a feat only matched by Cindy Crawford in Fair
Game. While she mixes it up in the action, her role
really ends up being little more than the The Girl and anyone who
can explain why she's wearing a ski cap on the beach at the end,
please enlighten me. Thank you.
Remember that ironclad boat from the beginning that I started the
synopsis with? Well, the filmmakers nearly forgot it too with all
the other plot threads to weave together. It doesn't help that every
crucial clue in their quest seems to be by plain dumb luck.
Coincidences are one thing, but it gets to be like they have their
own deus ex machina factory guiding their path. The commentary says
that the book was this way, but on screen, it plays pat, hokey and
way too convenient.
While the movie is a mixed-positive bag, the 2.35:1 anamorphic
transfer is nearly flawless, with excellent color that captures the
golden filtration that McGarvey developed to emphasize the illusion
of heat for a film shot in desert winter and the digital
intermediate color-timing used to selectively blow out the
highlights. Black levels and shadow detail are good and there was no
banding noted in the subtle gradients of the sand. The print is
clean and only a few sporadic shots that betray some weak distance
detail hold down the grade.
On the audio front (and back), the opening scenes feature so much
positional excitement from the English Dolby Digital 5.1 Surround
track (French 2.0 is also available - subtitles in English and
Spanish) that I was looking forward to a more consistent presence of
back channel content. However, that wasn't meant to be though the
mix is nice and punchy, with good low-end activity that drives the
action onscreen home. Levels and dynamics are well-balanced and the
score and dialogue are where they should be.
The features booty isn't very broad, but it is nicely deep starting
with Breck Eisner's solo commentary. Balancing nicely between film
geek minutiae and tech-for-dummies simplicity, he's a good talker
who actually made me want to hear what he had to say, even
explaining why the soundtrack runs heavy on the moldy
early-Seventies Southern rock. On the second commentary track, when
he's joined by McConaughey, the good info bits are recycled and much
of the rest of the track strays into, "Hey, you remember that
day?" territory. Go with the solo track for the facts; crack a
brew and maybe make some brownies (nudge wink) for the party track.
Four deleted scenes (total time approx. 4-1/2 minutes) are included
with optional tag-team commentary. None of them are really missed,
though one bit does explain one of the myriad lucky breaks that save
their bacon at one point.
Across the Sands of Sahara,
Visualizing Sahara and the
Cast and Crew Wrap Film add up
to about 45 minutes of making-of material that manages to get a lot
of the process and design decisions across in a fairly in-depth
manner. It would've been nice to see more on the special effects
techniques, but that's just the geek speaking. Finally, an Easter
egg offering a 30-second tour of Steve Zahn's trailer is available
by pressing the up arrow from the top of the Special Features
screen. Personally, a 30-second tour of Cruz's lingerie drawer
would've been more useful. (Can I get an Amen?)
It's too bad that the makers couldn't have picked a more appropriate
cast for the film's tone or lightened the tone for the cast, because
while the sweep is epic and the action well-handled, it fails to
deliver us to Popcorn Nirvana. The wait for a new King continues.
(Anyone else hear a rumor about an Indy
IV script being done?)