By Jason O'Brien jaobrien@charter.net
|
With this film, Stone makes his first foray into making a genre film, combining elements of film noir and even Westerns into a very dark, disturbing, and downright funny at times piece of entertainment which is his attempt to "lighten" things a bit, meaning that the film does not have any kind of political overtones as the majority of his films do. This is meant to be pure entertainment, and he did a pretty good job. Stone once again employs his new experimental film style which he began with JFK, using vertical editing, use of different film stocks (although there's much less use of black and white in this film), and quick-cut editing to tell his story. Sean Penn is Bobby Cooper, a gambler on his way to Las Vegas. His car breaks down three miles from Superior, Arizona. The first person he encounters should give him a clue as to what's in store for him in the town. Billy Bob Thornton, in an incredibly funny and remarkable performance, is Darrell, the mechanic who seems to enjoy pissing off Bobby. While Darrell begins work on the busted radiator hose, Bobby heads into town. Through flashbacks, we see that Bobby is not the hero we might think he is, as he is shown to be disreputable lout who had two of his fingers cut off by men trying to collect $30,000. One by one, Bobby begins to meet more strange characters in the town, including a blind Indian who acts as the voice of wisdom in the film, and eventually Grace, played by Jennifer Lopez. His sexual excitement for her leads him to her house, where he is found kissing her by her husband, a scum of the Earth played brilliantly by Nick Nolte. Eventually, Jake (Nick Nolte) is asking Bobby to murder his wife Grace, and Grace wants Jake killed. This is one of those stories where a main character gets caught in a situation (getting out of a town or getting home) to have absolutely everything go wrong against him/her.
My initial reaction to the film was indeed disappointment, as I suspect most of who respect Oliver Stone's work probably were. Stone's trademark seemed to be important, emotional, political films with strong messages and incredible stories. But what most people always forget when they discuss Oliver Stone is that he is first and foremost a filmmaker, and maybe that's why Stone chose to make this film now. After enduring incredible amounts of criticism with his political examinations and statements on the media, maybe it was time to show the world, hey, I'm a filmmaker. So on that level, not comparing the film to the Stone achievements of the past, U-Turn is indeed a mesmerizing film experience, and leaves its impression long after leaving the theatre. Ennio Morricone's music is haunting, and reveals the desperation evident in the town of Superior, Arizona. The story suffers in the climax, as it's not really in synch with the rest of the film. I think it's telling that this is the first major Stone film where Stone did not write or co-write the screenplay. The ending is okay, and shot in typical Stone style, but just off kilter a bit from the rest of the brilliant pacing of the film. Besides being an incredible film about characters with lost souls, it also meshes together sex and violence brilliantly. The violence in the film really begins when Bobby enters a store which happens to be held up. Stone's masterful technique of showing violence which shocks the audience (which dates back to Platoon) is in full force here, and gets out of hand really at the beginning to the climax (I won't give it away, but it involves an axe). But there is also a sexual energy which we're not used to in Stone's work -- Jennifer Lopez's Grace is a character we never fully understand, and never know what she's going to do. And in the aforementioned axe scene, there is a rather gruesome combination of sex and violence, reminiscent of the theory to the sexual fetish of the film Crash. The film also balances a good deal of humor, most notably in the exchanges between Darrell and Bobby. "Didn't you read my sign?" And the film has several incredibly memorable scenes -- the haunting scene of Nick Nolte having very rough sex with Jennifer Lopez, and suddenly the image of Lopez changes to her mother looking back at Nolte (extremely haunting), all of the scenes with Bobby and Darrell are priceless (Thornton better get a Supporting Actor nomination!), the scene with Bobby and Grace on the cliff, and the camera movement along with it is dizzying, beautiful, and tense. So above the story, which any other director might not have been able to pull off, is once again, The Stone Directorial Style. For purposes of simplicity, you could say Oliver Stone makes two types of films, grand epics and wild films with lost characters. And he does both extremely well. And while I think he does his best work in epics, especially historical epics of our more recent history, he still can make intriguing films out of any story. Stone's filmmaking style, especially cemented with this film, is very unique in contemporary Hollywood and in the annals of filmmaking history. You can instantly recognize a Stone film, from the use of his bizarre camera angles, amazing editing technique, and of course incredible cinematography by his long time collaborator, one of the absolute best, Robert Richardson. It is Stone's style of filmmaking which could make any film more than what it is -- I bet Stone could make Dumb and Dumber a worthwhile film. (OK, maybe that is stretching it.) So for all of the criticism saying this film is pointless, I say this film does have a point (and is certainly better than a lot of other films out there). It's an enjoyable entertainment, a dark detailed examination of a group of lost souls in a town near the desert on a journey towards death. Just pure filmmaking -- that's what Oliver Stone has been doing all this time. And what I hope he continues to do for a very long time. And if you still must find a message, I think Jon Voight's wise observations are enough -- especially to always ask yourself "Is it worth it?" That's all Bobby Cooper could have asked himself before trying to get involved with Grace, before the hell overtook him. At the time of the film's theatrical release, I invited individuals in the original Oliver Stone e-mail group to submit their own reviews for publication on this page. With this, I hope to offer as many different views as possible on Stone's latest film. Here are some views submitted by others when U-Turn was released:
Oliver Stone has lightened up for once. Sure, his latest, U-Turn, brims with all the
gut-churning violence, colorful profanity, and neo-psychedelic visuals that we've come
to expect from the director of such mindblowers as JFK, Natural Born Killers, and
The Doors. What sets this endeavor apart from the ten other films in the director's canon
is, ironically, its lack of Stone's trademark sermonizing.
Don't get me wrong. I think that Oliver Stone has directed some of the key motion
pictures in the past decade. Were it not for the urgent tone of JFK, countless government
files would have remained hidden from the public, gathering fifty more years worth of dust.
Although largely a misunderstood film, Natural Born Killers forced a weak-willed public to
explore its love of sensationalistic tabloid journalism (a lesson we've yet to fully comprehend,
as evidenced by the tedious, hair-and-fiber coverage of Princess Diana's death this past
August). And though many have yet to give it a chance, Nixon at least forced some to
reconsider the late President as a human being instead of a monster.
U-Turn, on the other hand, takes every perception we have of Oliver Stone and tosses
them into the winds of the Arizona desert. Here, we follow gambler Bobby Cooper
(Sean Penn), a pill-popping lowlife racing through the canyons on his way to Vegas.
Bandages cover what's left of his pinky and ring fingers, and he'd like to keep the rest
of his digits by paying off a $30,000 debt to some hotheaded Russian mobsters. After that,
he just wants to make his way to the Pacific and a life of peace and quiet.
If only it were that simple. Cooper's beloved red Mustang blows a radiator hose
outside the burgh of Superior, Arizona on a day when the blue of the sky is tinted orange
by the heat of a 100-degree day. A grinning, gap-toothed grease monkey (Billy Bob Thornton)
gives him crap when Bobby insists that he repair the 'Stang today. After the mechanic
takes the job, Cooper, with his satchel of money slung over one shoulder, hotfoots it into town.
What follows is a more or less a retread of John Dahl's 1994 thriller, Red Rock West: drifter
enters town; meets femme fatale (Jennifer Lopez in this case); her husband (Nick Nolte)
asks him to kill her; she returns the offer; and, after much plot development, all hell breaks loose.
However, while Dahl's movie relied more upon a quirky script and an ironic approach to noir,
Stone is more interested in testing the limits of each character he introduces us to.
The husband played by Nolte at first seems typical of most "bad husbands" we find in thrillers.
A grizzly man with a voice suggesting a bit more than a passing interest in tobacco, Nolte
lets us witness a man who treats his much younger wife in a manner more paternal than
possessive. He actually has an interest in keeping her around, but we find out eventually
that his intentions are miles away from what we initially assumed them to be. It's a risky
performance for Nolte, but he succeeds in humanizing the guy, sick monster that he is.
Also of interest are the denizens of Superior, who have been faithfully adapted from
John Ridley's novel Stray Dogs (the author also wrote the maudlin/satiric screenplay).
There's the young ingenue (Claire Danes), all makeup and denim miniskirt, who develops
an instant crush on Bobby; her jerk of a boyfriend (Joaquin Phoenix), a guy who has "TNT"
shaved into his hair and thinks everyone, especially Bobby, is after his "woman;" and a
good-old-boy sheriff (Powers Boothe), who appears to be the average peace-keeper
but actually is quite sinister.
All of these grotesque personages are surrounded in an atmosphere that smacks of
such classics as Touch of Evil, After Hours, and Wild at Heart. Stone, along with his
gifted cinematographer, Robert Richardson, paint a portrait of a desolate town barely
hanging on to one hinge. All sagging store fronts and chipped paint, Superior looks
like Hue City's demented American cousin. If a bomb was to go off in the town square,
it probably wouldn't make much of a difference, and the people there probably wouldn't care.
What particularly drives this aura is the swift, micro-second editing that has become a
Stone trademark. Close-ups of sweat soaking through Thornton's shirt, vultures snacking
on roadkill, and a biker with a tattoo that says "Dry Clean Only" all propel U-Turn into a
realm where anything bad and most likely will happen.
Bobby, as played by the gifted Penn, enters this circus with a world-weary arrogance,
but even he is taken aback by the brashness around him. We find out that he was
once a tennis pro before his gambling predilection cost him two appendages, and we
sense his anger and growing self-hatred.
In one of the film's best scenes, Bobby, trudging along in the heat of the sun, reflects
on his past, his present, and what future, if any, awaits him. He suddenly hears sounds
behind him-are they voices? He turns, screams, "WHAT?!" but sees nobody. It's
chilling, and we wonder where his path will take him.
In that respect, Bobby Cooper is not that far removed from NBK's Mickey Knox.
Both men are tortured by memories from their twisted pasts. They're on a road
to hell, and Stone electrifies us in letting us hitch a ride.
Which is not to say that U-Turn is entirely without blemishes. Lopez's character
seems at first to be complex and well defined. In fact, the ever-growing list of
factoids we learn about her only muddles the picture. It also hurts that she has
some of the loopiest lines of dialogue in the movie; while she spouts rubbish
about wanting to fly away like a bird, most folks will be checking their wristwatches.
U-Turn's main accomplishment is that its satire and irony come through sparklingly
clear. I'd go so far as to say that it accomplishes the job of mocking the sexiness
of violence even better than NBK did, although that was a better film overall. Not
to spoil the ending, but in the last scene, audiences will delight at the impending
misfortune of the slow-witted victor, who still won't acknowledge the uselessness of his situation.
Stone has made a ballsy crackerjack of a movie. It's funny and provides an insight into
the motivations of wretched minds. But, while U-Turn delights us because Stone has
chosen to avoid a political or social mantra, it also reminds us that this director is at
his best when he has a viewpoint to put forth. Diehard fans will probably be praying that
the Grassy Knoll Gunman will pop up at some point, ready to blow Bobby Cooper's head
"back and to the left…back and to the left…"
REVIEW BY BRIAN RUGGIERO (Posted 09/24/97)
The acting, as can be expected in any Oliver Stone movie, is first rate.
Billy Bob Thorton is wonderful playing the epitamy of white trash car
mechanic who attempts to fix Sean Penn's mustang. He is all greased over
and fits in perfectly with the estranged lunatics populating Superior.
Sean Penn's hectic schedule, starring in two previous summer releases-
She's So Lovely and The Game- serves as great practice for his rule in
U-turn as an exhausted visitor who simply wants to get the hell away. He
evokes the necessary emotion when needed but his personality is flat in
contrast to the events that surround him. The dilemma of who Sean Penn
wants to kill, Nick Nolte (one of his best and creepiest roles) or Jennifer
Lopez (who continually gets better with every film she does), is introduced
too quickly and his reasons for killing are ambiguously brought into the
plot. (The plot relayed in the previous sentence is in the preview for the
movie so if you have not even seen the movie's trailer, I'm sorry but don't
complain to me.) The characters of Claire Daines and Joaquin Phoenix are
as twisted as their relationship. The final interaction in the movie
between them and Sean Penn is priceless. Claire Danes, in my opinion, is
the best young actress in Hollywood and proves that she can do no wrong.
Joaquin Phoenix, who ranks with Leonardo DiCaprio as one of the best young
actors in movies today, plays an obsessive boyfriend whose speech is hard
to make out with the exception of a couple of explitives. When I see the
movie a second time, I hope I can make out more of that part of the script.
As far as comparing this to other Stone movies, I will rank it in the
middle along with The Doors. The drama as should be expected is lacking
when you compare it to JFK or Platoon or Natural Born Killers. This movie
is essentially about a screwed-up town where nothing is what it appears to
be. The movie is pure Oliver Stone, 100%. It is unlike any other movie he
has ever done, and I loved it!
COMMENTS BY JENNIFER WHITE (Posted 10/08/97)
great performances as usual.
here's the problem (besides the jerk sitting behind me talking through the
entire movie!).............the script. i kept thinking i was watching a
remake of RED ROCK WEST. by the end it was just a matter of how many people
were going to die. do you think that the fact that oliver didn't work on the
script was just a coincidence? it looks like an oliver stone film, it was
acted like an oliver stone film, but it doesn't sound like an oliver stone
film. (random side note: i wasn't too impressed with the score either, but i
liked the soundtrack) maybe because it's "an oliver stone movie" as the
credits/posters say, but even if it's not political at all, i still want that
same originality of his other films.
don't get me wrong. i love oliver stone's films and it kills me to think
this, but it's my honest reaction to the first viewing of it. i am going to
watch it again as soon as possible to see for sure. so, agree, disagree,
argue with me, let me know what you think. all of my friends hate his movies
and/or him so i need some good film criticism from his fans. thanks, jen :-)
COMMENTS BY NICK (Posted 10/08/97)
Sure, it's not his strongest work but I agree with the other person on
the list -- give him a break. Stone has been blasted year after year,
movie after movie, and I think this film is the sum-total of that
experience. We all know that Stone is notorious for blurring his
personal life with his protagonists and I think that it's no coincidence
that Sean Penn's character is constantly getting beat up in this movie.
But, like Stone, he always gets back on his feet.
I think it's obvious Stone has taken a U-Turn not only in this film but
in his life as well. Someone I know who works with Stone told me that
this is Oliver's "mid-life crisis" movie. Why do you think he spent so
much time screening it on the college circuit? He is trying to redefine
himself, get back to basics. He is at a crossroads in his life just
like Sean Penn in the beginning of the movie (Stone drives a similiar
red Mustang convertible, btw). Which path should he take? What lies
ahead for him?
Stone recently said in PREMIERE magazine "My doing those types of
contemporary political films (like NIXON) is right now at an end."
Nixon made $13 million domestically. In studio terms that means it was
a total bomb.
Stone is fed up. U-TURN is the result.
LINKS:
|
This was the film where the critics turned against Stone, almost for the first time since SALVADOR in 1986. Some critics
came out very harshly against this film, saying the film has no point, and why is a director with the talent of Oliver Stone making
a film like this. Well, okay, to be fair to the critics, let me first say that U-Turn certainly does not rank as one of the greatest
of Oliver Stone's films. But when you look at the films it would have to be held up against, how could any film compete? True
film criticism looks at the film itself, and as such, U-Turn is a very intriguing film, a film noir with some of the most interesting characters
ever put together in a film.
So while this story is not altogether that new, Oliver Stone presents it
in a new light, with a powerhouse group of actors who imbue their characterizations with original and believable performances, except maybe
for Powers Boothe, who goes a little overboard with his sheriff role. Oliver Stone is an incredible genius in making films that
revolve around characters with among other things several personal problems, in situations of enormous significance or trouble.
Because of the powerhouse group of actors in the film, most of these characters are never really fleshed out, and that indeed is a
disappointment because Stone has always been known for his very rich characters in his past films. And while these characters
are all memorable and all interesting to watch, none are really fleshed out. It's more of an ensemble piece, with people all lost
in a way, destined for doom in one way or another. The film is about a journey to death, as evidenced in the symbolism in the opening
shots of buzzards tearing apart a dead carcass on the road. One of the main character problems is that we don't really know what
to feel for Bobby, Sean Penn's character -- at one time, we see him as a disreputable lout and would be murderer, but at most times
we feel sorry for him. We hope for him to overcome these problems and somehow get the hell out of dodge.
REVIEW BY Jeremy M. Doherty (Posted 10/3/97)
The plot- which I will NOT describe so feel free to read further- is as
bizarre as any Stone movie, if not the most. However, the movie is a
first-class original, the likes of which I have not seen. This will not
make a great deal of money at the box office for this reason. The majority
of people do not recognize a good movie when it slaps them in the face.
The film was made on 20 million dollars, so hopefully it will make enough
to earn a profit.