The two best special agents in the Wild West must save President Grant from the clutches of a diabolical, wheelchair-bound, steampunk-savvy, Confederate scientist bent on revenge for losing the Civil War.
The music video for "Black Suits Comin' (Nod Ya Head)" features footage of Smith performing onstage in a Men in Black II environment, featuring characters and footage from the movie. It is ... See full summary »
A crash landing leaves Kitai Raige and his father Cypher stranded on Earth, a millennium after events forced humanity's escape. With Cypher injured, Kitai must embark on a perilous journey to signal for help.
Jim West is a guns-a-blazing former Civil War hero. Artemus Gordon is an inventive U.S. Marshal who excels in disguise. When the United States is threatened by psychotic Confederate Arliss Loveless, President Ulysses S Grant teams the duo up to bring him to justice. On a hazard-packed train journey from Washington, D.C. to Utah, West and Gordon must combine their skills to best Loveless and his diabolical machines.Written by
Chris Turner <firstname.lastname@example.org> and J. Kyle
Belle was originally cast with, and filmed with British actress Phina Oruche. Reportedly, the chemistry needed for the bathtub love scene wasn't there. The scene was re-cast and re-shot with Garcelle Beauvais. However, Oruche was not told, and found out she was no longer in the movie at the premiere in Los Angeles. See more »
At the film's beginning, after the scientist is beheaded by General McGrath's flying sawblade, the General picks the blade up and it is shown briefly with blood on just one section of it. In reality, after having beheaded the scientist, the blade would have a trail of blood around its entire circumference, as it was spinning at the time. See more »
Dr. Arliss Loveless:
Gentlemen, I am truly impressed by your effort and ingenuity. Why not swear an oath of loyalty to me, and forgo your executions?
Capt. James West:
Actually, I was thinking I'd stuff your little half-an-ass into one of these cannons and fertilize the landscape with ya.
See more »
`Wild Wild West' joins an increasingly long list of big bloated blockbusters, movies made for no possible reason beyond grabbing a quick summer buck yet which, ironically, by their very cynical and slapdash nature, utterly fail to connect with even the least demanding of audiences. The result is a multi-multi-million dollar debacle that leaves studios searching for answers and audiences shell-shocked into seeking out their entertainment along the more audacious pathway of off-Hollywood, independent filmmaking the single positive outcome of these dull, empty enterprises.
`Wild Wild West,' like so many films before it, looks to the relics of television's bygone era for inspiration as sad a comment as any on the dismal state of current movie creativity. As one not familiar with the original series, I cannot say what justice, or lack of justice, this homage does to its source. What is evident, judging from the results on screen, is that `Wild Wild West' is, as with most current blockbusters, top-heavy with special effects and as weak in the nether limbs as its legless villain. Straight Westerns being hopelessly out of fashion, especially for a special effects-driven summertime extravaganza, the filmmakers obviously felt that what was needed was a tongue-in-cheek approach to the material, resulting in a bizarre, but completely unfunny amalgam of fantasy and science-fiction gilded onto a Western format. The disparate styles simply fight against each other, leaving no one in the audience - neither Western nor science-fiction fans - satisfied.
The alleged plot involves the attempts by James West (Will Smith) and Artemis Gordon (Kevin Kline) to foil an evil Confederate inventor's plan to kidnap all the world's most brilliant scientists and, ultimately, terrorize the Union and President Grant into submission. This he attempts to do by creating a giant mechanized spider which is, obviously, a last ditch, desperate attempt on the part of the filmmakers to fulfill the seemingly insatiable demands of the modern audience to be dazzled by impressive special effects, no matter how inappropriate they appear in context. Here, though, the miscalculation is fatal because even the audience is wise enough to know when it is being had. Kline and Smith never achieve a palpable rapport despite the usual abundance of lame wise cracks and sarcastic asides designed to make them `hip' and `trendy' two qualities incongruous to the setting, which again shows the lack of real commitment to the spirit of the project. There is exactly one clever moment in the film an astonishingly creative homage to the old RCA logo that hints at what might have been had the moviemakers been willing to really let loose their anarchic imaginations and aimed for something truly sophisticated rather than simply pasting together a series of confused, poorly written blackout sketches.
Incidentally, even some of the expensive special effects come across as surprisingly crude, especially many of the shots utilizing rear-screen projection. Hence, this film strikes out even in the one ballpark in which it might have stood a chance of emerging victorious.
113 of 180 people found this review helpful.
Was this review helpful to you?
| Report this