Blade: Trinity

Roger Ebert started his review by saying, “I liked the first two Blade movies, although my description of “Blade II” as “a really rather brilliant vomitorium of viscera” might have sounded like faint praise. The second film was directed by Guillermo Del Toro, a gifted horror director with a sure feel for the quease-inducing, and was even better, I thought, than the first. Now comes “Blade: Trinity,” which is a mess. It lacks the sharp narrative line and crisp comic-book clarity of the earlier films, and descends too easily into shapeless fight scenes that are chopped into so many cuts that they lack all form or rhythm.”

The setup is a continuation of the previous films. Vampires are making a war to contaminate humanity, and the most powerful fighter against them is the half-human, half-vampire Blade, reprised by Wesley Snipes. He has been raised from childhood by Whistler, reprised by Kris Kristofferson, who recognized his unique ability to balance between the two, and is a dangerous warrior, but, despite some colleagues, seriously outnumbered.

Ebert said, “As “Trinity” opens, the Vampire Nation and its leader Danica (played by Parker Posey — yes, Parker Posey) convince the FBI that Blade is responsible for, if I heard correctly, 1,182 murders.” “They’re waging a gosh darned publicity campaign,” Whistler protests in that Kris Kristoferson seen everything voice.

Agent surround Blade’s headquarters, which is your simple action movie area combining the setting of a warehouse with lots of catwalks and high places to fall from and stuff that blows up good. Whistler goes down fighting (however a shotgun seems dated, given the sci-fi weapons somewhere else in the movie), and Blade is enlisted by the Night Stalkers, who reach him through Whistler’s daughter, Abigail, voiced by Jessica Biel. Ebert said, “It would have been too much. I suppose, to hope for Whistler’s mother.”

The Night Stalkers have information that the Vampire Nation is finding the original Dracula, because to spread the virus “they need better DNA; they need Dracula’s blood.” Dracula’s superior DNA means he can work by day, unlike his descendants, who must work by night. Ebert said “The notion that DNA degrades or is somehow diluted over the centuries flies in the face of what we know about the double helix, but who needs science when you know what’s right? “They found Dracula in Iraq about six months ago,” we learn, and if that’s not a straight line I’m not Jon Stewart.”

Dracula is some type of guy. Ebert said, “Played by Dominic Purcell, he isn’t your usual vampire in evening dress with overdeveloped canines, but a creature whose DNA seems to have been infected with the virus of Hollywood monster effects. His mouth and lower face unfold into a series of ever more horrifying fangs and suchlike, until he looks like a mug shot of the original “Alien.”” He doesn’t suck blood, he vacuums it.

Ebert said, “Parker Posey is an actress I have always had affection for, and now it is mixed with increased admiration, for the way she soldiers through an impossible role, sneering like the good sport she is. Jessica Biel becomes the first heroine of a vampire movie to listen to her iPod during slayings. That’s an excuse to get the soundtrack by Ramin Djawadi and RZA into the movie, I guess, although I hope she downloaded it from the iTunes Store and isn’t a pirate on top of being a vampire.”

Vampires in this movie look about as easy to kill as the creatures in “Dawn of the Dead.” Ebert noted, “They have a way of suddenly fizzing up into electric sparks and then collapsing in a pile of ash. One of the weapons used against them by the Night Stalkers is a light-saber device that is, and I’m sure I have this right, “half as hot as the sun.” Switch on one of those babies and you’d zap not only the vampires but British Columbia and large parts of Alberta and Washington state.”

Ebert continued, “Jessica Biel is the resident babe, wearing fetishistic costumes to match Blade’s and teaming up with Hannibal King (Ryan Reynolds), no relation to Hannibal Lecter, a former vampire who has come over to the good side.” The vampire killers and their fellow Night Stalkers go in an increasingly cloudy series of fights with the vampires, making you ask this simple question: Why, since the whole world is theirs to take, do the vampires have to appear and fight the Night Stalkers in the first place? Why not just figure out that since the Stalkers are in Vancouver, the vampires should concentrate somewhere there, like Montreal?

“Blade: Trinity,” released in 2004, was a huge disappointment. There have been so many horror stories that were told about Wesley Snipes’ behavior on set. Allegedly, he was very difficult to work with, wouldn’t speak to his co-stars a lot, and used a racist word against Reynolds. Patton Oswalt said Snipes tried to strangle David S. Goyer, which Snipes as denied. However, Goyer made public about his difficulties with the production, telling The Hollywood Reporter that he doesn’t believe anyone involved with this film is happy with it. Oswalt also said that Snipes smoked weed in his trailer, refused to break character, and the filmmakers intentionally gave Reynolds “the worst jokes and puns” so they could “cut to Snipes’ face not doing anything because that’s all we could get from him.” Reports say Snipes was unhappy with the choice of director, refused to leave his trailer and communicated with the cast and crew using post-it notes. This put him in the negative light and damaged his career. Not long after this film, he faced legal issues and was in jail, and his leading-man status quickly disappeared. You might have heard Snipes allegedly refusing to keep his eyes open.

Other than that, they tried to make this film into a comedy, which is not what Blade is supposed to be. This, of course, was before Ryan Reynolds was liked today in cinema, because back then, his comedy didn’t really attract people. Nothing about it was funny in any way, but just came off as painful. I would recommend everyone to pass this up, especially if they liked the first two films. You don’t want to be disappointed by the end of the trilogy. Even WWE Wrestler Paul Levesque aka Triple H couldn't save this movie. However, you could see that Snipes and Reynolds have reconciled, seeing how Snipes made a cameo as Blade in “Deadpool & Wolverine.”

Thank you for joining in on this year’s “Black History Movie Month.” I hope everyone enjoyed. See you next month with more excitement. 

Blade II

Roger Ebert started his review by saying, ““Blade II” is a really rather brilliant vomitorium of viscera, a comic book with dreams of becoming a textbook for mad surgeons. There are shots here of the insides of vampires that make your average autopsy look like a slow afternoon at Supercuts. The movie has been directed by Guillermo del Toro, whose work is dominated by two obsessions: War between implacable ancient enemies, and sickening things that bite you and aren’t even designed to let go.”

The 2002 sequel is an improvement on the first film, which was pretty good. Once again Wesley Snipes plays the Marvel Comics protagonist who is half-man, half-vampire. He was raised from childhood by Whistler, reprised by Kris Kristofferson, a vampire hunter who kept Blade’s vampirism under control, and trained him to fight the vampires. A long time has passed, Whistler has been kidnapped by vampires and floats unconscious in a storage tank while his blood is harvested, and Blade runs the streets in his solitary war.

Ebert mentioned, “One night acrobatic creatures with glowing red eyes invade Blade’s space and engage in a violent battle that turns out to be entirely gratuitous, because after they remove their masks to reveal themselves as vampires–a ferocious warrior and a foxy babe–they only want to deliver a message: “You have been our worst enemy. But now there is something else on the streets worse than you!” This reminded me of the night in O’Rourke’s when McHugh asked this guy why he carried a gun and the guy said he lived in a dangerous neighborhood and McHugh said it would be safer if he moved.”

The Vampire Nation is under attack by a new colony of vampires named Reapers, who drink the blood of both humans and vampires, and are greedy. Blade, who is both human and vampire, is in the middle of the road. If the Reapers are not destroyed, both species will die. Ebert noted, “If the Reapers are not destroyed, both races will die. This news is conveyed by a vampire leader whose brain can be dimly seen through a light blue translucent plastic shell, more evidence of the design influence of the original iMac.”

Blade and Whistler (now rescued from the tank and revived with a “retro-virus injection”) join the vampires in this fight, which is not without danger, because of course if the Reapers are destroyed, the vampires will turn on them. Ebert pointed out, “There is a story line, however quickly sketched, to support the passages of pure action, including computer-aided fight scenes of astonishing pacing and agility. Snipes once again plays Blade not as a confident superhero, but as a once-confused kid who has been raised to be good at his work and uncertain about his identity.” He is in love with a vampire Nyssa, played by Leonor Varela, but we feel a relationship between a vampire and Blade, called a Daywalker, is sooner or later going to end in arguments over their work schedules.

The Reapers are perfectly made for this movie. They all have what looks like a scar down the center of their chins. Ebert mentioned, “The first time we see one, it belongs to a donor who has turned up at a blood bank in Prague. This is not the kind of blood bank you want to get your next transfusion from. It has a bug zapper hanging from the wall, and an old drunk who says you can even bring in cups of blood from outside and they’ll buy them.”

We find out that it is a cleft chin, not a scar. These Reapers are disgusting. Ebert said, “They have mouths that unfold into tripartite jaws. Remember the claws on the steam shovels in those prize games at the carnival, where you manipulated the wheels and tried to pick up valuable prizes? Now put them on a vampire and make them big and bloody, with fangs and mucus and viscous black saliva. And then imagine a tongue coiled inside with an eating and sucking mechanism on the end of it that looks like the organ evolution forgot–the sort of thing diseased livers have nightmares about.” Later they cut open a Reaper’s chest cavity and Blade and Whistler look inside.

Blade: The heart is surrounded in bone!

Whistler: Good luck getting a stake through it!

Ebert noted, “Del Toro’s early film “Cronos” (1993) was about an ancient golden beetle that sank its claws into the flesh of its victims and injected an immortality serum. His “Mimic” (1997) was about a designer insect, half-mantis, half-termite, that escapes into the subway system and mutates into a very big bug. Characters would stick their hands into dark places and I would slide down in my seat. His “Devil’s Backbone” (2001), set in an orphanage at the time of the Spanish Civil War, is a ghost story, not a horror picture, but does have a body floating in a tank.”

Still when he was in his 30s, Del Toro didn’t depend on computers to get him through a movie and impress those with fancy fight scenes. He brings his scary phobias with him. Ebert ended his review by saying, “You can sense the difference between a movie that’s a technical exercise (“Resident Evil”) and one steamed in the dread cauldrons of the filmmaker’s imagination.”

In my opinion, I feel like “Blade II” is better than the first one. If you like the first one better, I understand. However, I am one of those people who prefers the sequel. When I saw it, I really got into it because the action was more intense, the story was gripping, the actors played their parts perfectly, and all around, Del Toro did an amazing job with this sequel. Check it out if you haven’t seen it yet. I saw this in parts on YouTube way back when you could only see movies split up into 10-minute videos. I have been meaning to go back and rewatch the trilogy, but I haven’t gotten around to it. See this sequel to know what I mean about this one being better than the first, in my opinion.

Next week, we will be sadly ending “Black History Movie Month” with the weakest of the “Blade Trilogy.”

Blade

At a time when too many movies are made from boring, TV-style visuals of people standing around talking, moves based on comic books represent of the last best hopes for visionary filmmaking. It’s strange that the comics, which borrowed their early visual style from movies, should now be returning the favor.

Roger Ebert said in his review, ““Blade,” starring Wesley Snipes as a killer of vampires who is engaged in an armageddon for possession of the Earth, is a movie that relishes high visual style. It uses the extreme camera angles, the bizarre costumes and sets, the exaggerated shadows, the confident cutting between long shots and extreme closeups. It slams ahead in pure visceral imagery.”

Obviously, anyone patiently watching the film hoping for an engaging story line is going to be disappointed. Ebert suggested, “Better to see it in comic book terms, as an episode in a master-myth, in which even the most cataclysmic confrontation is not quite the end of things, because there has to be another issue next month. The story, like so many comic myths, involves ordinary people who are connected through a superhero to an occult universe that lurks beneath reality–or, as Blade tells a young human doctor, “The world you live in is just a sugar-coated topping. There is another world beneath it–the real world!”” Blade, based on a Marvel Comics character, is played by Snipes as a man in between human and vampire. Blade’s origin story: his mother (Sanaa Lathan) was bitten by a vampire while pregnant, poisoning her son, who lived in the streets until being adopted by a man named Whistler (the great Kris Kristofferson), who plans a lonely war against vampires. Ebert said, “Now Blade, raised to manhood, is the spearhead of that battle, as vampires spread their influence through the major cities. One of their chief gathering grounds: secret after-hours dance clubs where victims are lured by the promise of forbidden thrills, only to be bitten and converted.”

Ebert continued by noting, “The movie is built around a series of major action scenes; the first one features an update of an old friend from 1970s Hong Kong movies, the flying guillotine. This is a knife-edged boomerang that spins, slices and returns to its owner. Very neat.”

Blade meets Dr. Karen Jensen, played by N’Bushe Wright, a blood specialist who has been bitten by a severely burned vampire brought in for emergency treatment. Can she be saved? He returns her to Whistler’s secret lab for an injection of liquid garlic, which will give her a good chance. Ebert noted, “Blade himself lives under a daily reprieve; Whistler’s serum keeps him on the human side, although he may be building up a resistance to it.”

Displayed against Blade are the armies of vampirism, lead by his arch-enemy Deacon Frost, played by Stephen Dorff, who’s also half-human, half-vampire, who dreams of a final vampire rebellion against humans, and world conquest. Ebert noted, “His rival within the vampire world is Dragonetti (Udo Keir), a pure vampire who prefers the current arrangement under which vampires secretly control key organizations to safeguard their interests.”

There is a lot of background inspiring Frost’s plans, including the recreation of an ancient vampire god who may return to lead the vampires in their final mission. Ebert noted, “The setting for the climactic scene is a phantasmagoric vampire temple where Blade must risk everything in a titanic showdown.”

Ebert continued, “The movie, directed by Stephen Norrington, is another in a recent group of New Line Cinema movies that combine comic book imagery, noir universes, and the visual heritage of German Expressionism; I’d rank it third after “Dark City” and “Spawn.”” This material is obviously moving in the direction of complete animation, which is the look it often tries to suggest, and there are some shots here that use special effects to suggest animation’s freedom from gravity and other physical laws. Ebert pointed out, “Notice, for example, an unbroken shot where Blade takes Dr. Jensen in his arms and makes an improbable leap from a high window to a far rooftop. Can’t be done–especially not with them seemingly floating down in midair to a safe landing–but the dreamlike feel of escape is effective.”

Wesley Snipes understands the material all the way around and makes a believable Blade because he knows that the main ingredient in any interesting superhero is not power, but vulnerability. There is always a kind of sadness motivating the personalities of the great superheroes, who have been given great knowledge and gifts but few reliefs in their battle against evil. The fun seems to be entirely on the villain’s side. By symbolizing those feelings, Snipes as Blade gives the movie that edge of emotion that without it would simply be special effects. Ebert mentioned, “Of course you have to bring something to it yourself, preferably a sympathy for the whole comic superhero ethos.” This is the kind of movie that gets better the more you know about the genre.

At a time when comic book adaptations where getting critically thrashed and bombing at the box office, “Blade” came along in 1998 and helped the resurrection of the genre. We have to thank this great film into getting people back into liking comic book adaptations. A majority of comic book adaptations in the 90s were terrible and it looked like they were going to tank, but then this film was released. It helped get comic book adaptations get back up and running. This is simply a film that everyone must see, regardless of whether they like comic book adaptations or not. Snipes is the best part of the film because he plays Blade as if he was meant for the role. The action is phenomenal, the story is engaging, the characters are great, and the writing is just right. See this if you haven’t because “Blade” is a comic book film that no one should miss. I would say this is one of my favorite comic book films.

No surprise, they made sequels to “Blade.” Check in next week to see how the first sequel turned out in “Black History Movie Month.”