Michael Chapman

The Watcher (2000, Joe Charbanic)

I do not regret watching The Watcher, which features Keanu Reeves as a serial killer who sees the world like a shitty late nineties video camera. It might not even be a video camera. The shots might just be through a shitty video viewfinder. There’s a lot of… competency on display in the film, but it’s never from director Charbanic. Charbanic’s hilariously incompetent. Well, sort of hilariously. Sometimes the bad goes on too long and gets tiring. The therapy sessions haunted ex-FBI agent James Spader has with Marisa Tomei are always tedious; the writing (from David Elliot and Clay Ayers) is godawful, but Tomei also looks like someone’s pointing a pistol at her dog offscreen to keep her on set. Given how Charbanic doesn’t do establishing shots, there’s sometimes no evidence Spader and Tomei are on set together. Spader can handle it. Tomei cannot.

Because until the last act, when Reeves kidnaps Tomei and Spader, it’s Spader’s movie. It’s about this guy who has moved to Chicago from L.A., on full disability after he ran into a burning house to save his lover (Yvonne Niami). Only then we find out through flashbacks Spader left Miami tied up to go chase Reeves. His lasting damage from the rescue attempt doesn’t always allow him to remember the fire. Tragic.

For more reasons than one. Niami seems awkwardly filmed. Maybe it’s because she’s one of the producers’ wives. The shlock producer. The film has three. Two seem legit, the third—Nile Niami—did a bunch of low budget action crap. The Watcher feels like low budget action crap, but filmed on location. Because even though there’s the interesting behind the scenes story about how Reeves was buds with director Charbanic from when Reeves toured with his crappy band instead of doing Speed 2 and verbally agreed to do this shitty script and then some assistant forged Reeves’s name on an actual contract and Reeves was trapped—even though there’s that story, whatever the deal with the Chicago location shooting is far more compelling. Because they go all out shooting in Chicago. It looks terrible, because Charbanic sucks and Matthew Chapman’s cinematography looks like a syndicated TV cop show and Richard Nord’s editing is atrocious, but whoever coordinated and managed all that location stuff—great job. The CG explosions look like crap, but the real ones look awesome… well, look awesomely executed. They don’t look awesome because the direction’s bad. Though the big explosion shot is one of the better, more approaching competence moments.

They’ve got a gazillion cop cars, they’ve got helicopters flying into the city from over Lake Michigan–the movie goes all out as a Chicago travelogue. At first it seems like it’s some kind of promotional video to shoot in Chicago, then it seems like it’s some crappy action movie just shot in Chicago—like a Chicago investor or something—but apparently it’s something else entirely. Kind of interesting. Far more interesting than the movie. And the Reeves casting intrigue. Because Reeves is just bad. He’s really bad at playing the serial killer. The script’s dumb, Charbanic’s a suck director, but Reeves is still just bad.

Spader… works it. Sometimes you can just pass the time watching Spader figure out how he’s going to essay this crap role. It’s like watching the performance occur to him. It’s not a great performance by any means—the script’s crap, characterization’s crap, part’s crap—but it’s interesting to watch Spader. Less Tomei. Chris Ellis is really good as Spader’s Chicago PD sidekick. Ellis doesn’t have a single acceptably written line but somehow he makes it work. He’s very enthusiastic. Like somehow he’d convinced himself The Watcher was going to be the next Matrix. It has Keanu Reeves in a leather jacket all the time after all.

Marco Beltrami’s score isn’t good—Nord’s cutting for music, Beltrami or the light metal soundtrack selections is terrible—but Beltrami works it too. He’s got some good technique, but there’s no way the final product is going to come across.

The Watcher’s atrocious. You shouldn’t watch it.

Though, if you’re interested in the Chicago area and seeing an expansively but poorly shot film showcasing it… you probably can’t do better than The Watcher? But also don’t watch it. It’s terrible.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Joe Charbanic; screenplay by David Elliot and Clay Ayers, based on a story by Darcy Meyers and Elliot; director of photography, Michael Chapman; edited by Richard Nord; music by Marco Beltrami; production designers, Maria Caso and Brian Eatwell; produced by Christopher Eberts, Elliott Lewitt, Nile Niami, and Jeff Rice; released by Universal Pictures.

Starring James Spader (Joel), Keanu Reeves (David), Marisa Tomei (Polly), Chris Ellis (Hollis), and Ernie Hudson (Mike).


The Last Detail (1973, Hal Ashby)

Even though Jack Nicholson gets top billing and the most bombastic role in The Last Detail, Otis Young has the harder job. He’s got to temper Nicholson, both for the sake of the audience and of the narrative. The film introduces the two men simultaneously–Robert Towne’s script almost immediately establishes an unspoken bond between the two, even though it takes them well through the first act to get to know each other.

The Last Detail is an atypical buddy picture for many reasons, with the two buddies getting thrown together being one of the more immediate ones. But more, the film is practically a parenting outing. Nicholson’s the crazy, fun dad, Young’s the responsible mother (who you don’t want to cross) and Randy Quaid’s the kid. Of course, Nicholson and Young are escorting Quaid to the stockade.

Along the way, Nicholson and Young do not go on an odyssey of self discovery. Their efforts in humanizing Quaid don’t lead to big momentous changes in their lives. Towne is reserved, saving the expository character development scenes for when Quaid’s doing something else (sometimes just napping); it makes those scenes, with Nicholson calm as opposed to manic and Young not fretting as much, rather special.

Director Ashby and editor Robert C. Jones create a tranquil, quiet quality for the film, using fades to guide the viewer’s attention. Great photography from Michael Chapman and a rather good score from Johnny Mandel.

All the acting’s great. Detail is muted, precise and often devastating.

4/4★★★★

CREDITS

Directed by Hal Ashby; screenplay by Robert Towne, based on the novel by Darryl Ponicsan; director of photography, Michael Chapman; edited by Robert C. Jones; music by Johnny Mandel; production designer, Michael D. Haller; produced by Gerald Ayres; released by Columbia Pictures.

Starring Jack Nicholson (Buddusky), Otis Young (Mulhall), Randy Quaid (Meadows), Clifton James (M.A.A.), Carol Kane (Young Prostitute) and Michael Moriarty (Marine O.D.).


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