THE PROFESSOR AND THE MADMAN (Ireland/France/Iceland - 2019) Directed by P.B. Shemran (Farhad Safinia). Written by Todd Komarnicki and P.B. Shemran (Farhad Safinia). Cast: Mel Gibson, Sean Penn, Natalie Dormer, Steve Coogan, Stephen Dillane, Ioan Gruffudd, Eddie Marsan, Jennifer Ehle, Jeremy Irvine, David O'Hara, Anthony Andrews, Laurence Fox, Lars Brygmann, Bryan Murray, Sean Duggan, Olivia McKevitt, Brendan Patricks, Shane Noone. (Unrated, 124 mins) A longtime dream project that Mel Gibson's had on the backburner since purchasing the movie rights to Simon Winchester's book when it was released in 1998, THE PROFESSOR AND THE MADMAN ultimately became a nightmare of behind-the-scenes clashes and multiple lawsuits. Gibson began developing it as far back as 2001, when the great John Boorman (DELIVERANCE, EXCALIBUR) was set to write and direct. That fell apart and Boorman's script was reworked in 2007 by Todd Komarnicki (SULLY), with Luc Besson attached to direct, but that was right around the time that Gibson's traffic stop and other offscreen problems essentially made him persona non grata in Hollywood for at least the next decade. Nine years later, with numerous international financiers, Gibson finally got THE PROFESSOR AND THE MADMAN going with a new script by his friend and APOCALYPTO collaborator Farhad Safinia, who would also be making his directing debut. It was near the end of filming in Ireland in 2016 that disagreements began to develop between Gibson/Safinia and Voltage Pictures head Nicolas Chartier, when the pair asked for an additional $2.5 million for five additional days to shoot some scenes that they insisted had to be done on location at Oxford University (Trinity College was filling in for Oxford until then). Chartier rejected the request, telling them that they were already behind schedule and over the $25 million budget, so Trinity in Dublin would have to suffice.
Believing the film wouldn't be complete without these Oxford-shot scenes, Gibson told Chartier that Safinia wasn't being permitted to sufficiently finish the film. Gibson sued Voltage Pictures for breach of contract, claiming the film wasn't completed and he was guaranteed final cut, with Safinia also suing, claiming copyright infringement, accusing Voltage of never finalizing his contract, thus "his" script (which still contained some of Boorman's and Komarnicki's work) was never officially handed over to them. When Voltage released a statement accusing Gibson and Safinia of trying to "hijack the movie," Safinia sued for defamation. A judge ruled in favor of Voltage all around, and when Safinia's planned 160-minute film was whittled down to 124 minutes with neither Gibson nor Safinia's input, Gibson unsuccessfully tried to prevent it from being screened for potential distributors. These lawsuits kept the film on the shelf over 2017 and 2018 until a settlement was reached in early 2019, with Gibson removing his producer credit and any mention of his Icon Productions company. Safinia also successfully petitioned to have his name removed as director and co-writer, with credit now going to the non-existent "P.B. Shemran." Also absent is any mention of Boorman, still credited as a co-writer in initial press releases, in festival reviews, and on IMDb, but whose name is nowhere to be found on the released film. A troubled production, for sure, but there was a time when a prestige period piece starring Mel Gibson and Sean Penn would've been one of the most anticipated films of its year instead of one that gets a buried on VOD like a state secret by lowly, Redbox-ready Vertical Entertainment, with seemingly everyone involved actively distancing themselves from what sounds less like a battle of artistic differences and more like an alpha-male pissing contest.
With that kind of chaotic backstage melodrama, you'd think THE PROFESSOR AND THE MADMAN would be a folly of category five shitstorm proportions along the lines of LONDON FIELDS, another recent film left unreleased for several years due to endless litigation. It's a handsomely-produced period piece with meticulous production design that's often beautiful to look at and undeniably sincere in its approach, and while this Gibson-disowned version has some all-too-obvious red flags for post-production discord, it has other problems for which Gibson and Safinia should probably be held accountable. An account of the creation of the Oxford English Dictionary, THE PROFESSOR AND THE MADMAN focuses on Prof. James Murray (Gibson), a Scottish autodidact and linguist and self-taught expert in over a dozen languages, who successfully lobbies the powers that be at Oxford to entrust him with the task of compiling every word in the English language and its origin into a comprehensive, epic volume ("We are about to embark on the greatest adventure our language has ever known!" he declares). He estimates it'll take five years, but the project soon becomes too daunting, even with research assistants Henry Bradley (Ioan Gruffudd) and Charles Hall (Jeremy Irvine). It also places a strain on his family, with wife Ada (Jennifer Ehle) dutifully supporting him but truthfully not very enthused about moving their large family to a smaller home as Murray obsesses over his all-consuming project. The OED hits a brick wall, not helped by sneering publisher Philip Lyttleton Gell (Laurence Fox, conveying the erudite pomposity that his dad James and uncle Edward have projected so masterfully throughout their long careers) and supercilious Oxford board member Benjamin Jowett (Anthony Andrews), both of whom deem Murray's self-education dubious and a dishonor to the university ("I wonder if it's time to ease our gentle Scotsman off his little perch," Jowett harumphs).
Realizing it will take much longer than five years to complete the dictionary, Murray comes up with the idea of having a "dictionary by democracy," asking the general public to contribute words and origins, with Murray and his assistants determining the validity of the info provided (a pre-Wikipedia of sorts). Their largest selection of entries comes from an unexpected source: Dr. William Chester Minor (Penn, in his first feature film since 2015's THE GUNMAN), an American expat, paranoid schizophrenic and PTSD-afflicted Civil War vet being held at the Broadmoor Asylum for the Criminally Insane after killing a married father of six that he mistook for a wartime enemy. Minor is also a gifted surgeon and intellectual who earned reading privileges in the asylum after saving the life of an injured guard. He also feels remorse for what he's done and offers his military pension to his victim's widow Eliza (Natalie Dormer), who reluctantly accepts after briefly turning to prostitution to support her children. She begins to visit Minor in the asylum, he teaches her to read, and she slowly comes around to forgiving him after witnessing the extent of his mental illness. Dr. Murray visits and befriends Minor as well, which causes friction with the Oxford board when he insists that a known murderer be lauded as a major OED contributor.
Frequently heavy-handed and filled with barely-concealed allusions to Gibson's own personal quest for redemption, THE PROFESSOR AND THE MADMAN benefits from his solid, committed performance, but almost everything else is miscalculated to varying degrees. As in Komarnicki's script for SULLY, the film needs a villain where there really isn't one, so Gell and Jowett are there to undermine Murray and stonewall the OED at every turn for no legitimate reason at all aside from manufactured drama. Likewise at the asylum, the kindly and benevolent Dr. Richard Brayne (Stephen Dillane) suddenly does everything short of twirl a mustache while maniacally cackling to make Minor's life a living hell, starting with cutting off visits from Murray and Eliza and eventually barbaric forms of "therapy" like violently-induced vomiting that he blames on "catalepsy." Maybe some of this was explained in the excised 40-odd minutes of footage, but as presented here, Minor's deteriorating condition (starting with a self-castration) lacks a proper buildup. Not helping matters is a wildly overacting Penn, who's been given carte blanche to gorge on a buffet of scenery by Safinia and Gibson, who also seriously bungle the time element. There is one major instance where the blame can obviously be laid on some sloppy editing in post, as evidenced when Eliza's daughter slaps a white-bearded Minor, who's next seen in his room shouting "Look what you've done!" and his beard is suddenly dark brown, making it almost certain that the scene doesn't belong where Voltage's editors have placed it. But elsewhere, it becomes a huge distraction when Penn's Minor seems to be the only person who ages over the course of the film, set from 1872 to 1910. With a big, bushy salt-and-pepper beard, Gibson looks exactly the same from start to finish, as does everyone else and, save for the final shot at a Murray family gathering, neither Murray's nor Eliza's kids ever grow up as the story progresses and the decades pass. There's also some extensive Minor voiceover in letters he sends to Murray and it's clearly not Penn's voice reciting it. These goofs and haphazard stitches aside, what's here is a compelling story. Penn seems to keep himself in check in his initial scenes with Gibson (who is really good here), and the film also offers nice supporting turns from Eddie Marsan as a sympathetic asylum guard and Steve Coogan as Murray's biggest supporter on the Oxford board. But this is a compromised work that represents the vision of an executive producer doing damage control, and not that of the producer-star who spent a decade-and-a-half trying to get it made and was perhaps too close to it for his--and the film's--own good.
From 1987's FATAL ATTRACTION through 2001's DON'T SAY A WORD, Michael Douglas had a remarkable run as the king of the controversial, hot-button hit. Whether it was WALL STREET or BASIC INSTINCT or FALLING DOWN or DISCLOSURE and others (you could even go back further and include 1979's THE CHINA SYNDROME), Douglas' string of hits were routinely the subject of water-cooler discussion and zeitgeist-capturing debate. Douglas' star no longer shines like it once did and the movies aren't as attention-getting, but he's kept busy in recent years, even attempting to recapture some of that Gordon Gekko magic in Oliver Stone's dismal WALL STREET: MONEY NEVER SLEEPS (2010). The thriller BEYOND THE REACH finds him in prime "smug, entitled asshole" mode, like a fusion of Douglas' Gekko and his murderous husband in 1998's DIAL M FOR MURDER remake A PERFECT MURDER, and he seems to be enjoying every minute of it. Produced by Douglas, BEYOND THE REACH would've been a hit if it came out 15 years ago, but was only released on 27 screens in the US for a gross of $46,000--a far cry from the actor's early '90s glory days. Douglas is John Madec, a multi-millionaire insurance exec who stops in a small town outside the Mojave Desert to hire a tracker to help him bag a bighorn sheep. The sheriff (Ronny Cox) tells deputy Ben (Jeremy Irvine), "the best tracker in the state," to take Madec out beyond "The Reach," a desolate area of the Mojave. Because he calls the shots in the boardroom, Madec doesn't really care that he's total amateur hour outside the security of a canned trophy hunt, careless with his high-tech weapon and operating under the belief that wealth and privilege trump safety and knowledge. Madec is a man who gets what he wants and brazenly advertises that he's the most important guy in the room (he even parks his obscene, $500,000 Mercedes 6x6 off-road-vehicle--with an espresso machine and calibrated convection oven for perfectly-grilled steaks--across three spots outside the sheriff's office). Madec makes Gordon Gekko look humble, and when he isn't on his phone brokering the sale of his company to some Chinese businessmen, he waxes rhapsodic to Ben about his favorite subject: John Madec. An unimpressed Ben goes along to get along, even taking a bribe when he learns Madec doesn't have a hunting license, but things quickly go south when Madec impulsively shoots something moving in the distance--something that turns out to be a local prospector. Madec uses his manipulative sales techniques to cajole Ben into burying the body and buying his silence with the promise of a college education and a future career, an agreement settled with a bloody handshake. But when Ben's conscience kicks in, he tries to radio back to town and Madec decides Ben has to die--not by gunshot, but by stripping down to his boxers and walking across The Reach, barefoot and without water, in the blistering 120°F sun, with Madec following close behind to ensure he dies of heatstroke. It's like a class struggle version of Tuco's desert torture of Blondie in THE GOOD, THE BAD AND THE UGLY.
Based on Robb White's 1972 YA novel Deathwatch and previously made into the 1974 ABC TV-movie SAVAGES with Andy Griffith and Sam Bottoms, BEYOND THE REACH works when it's a tense game of cat-and-mouse between Madec and Ben. But screenwriter Stephen Susco (THE GRUDGE, TEXAS CHAINSAW) and director Jean-Baptiste Leonetti throw in a lot of inconsequential padding, like Ben moping around over his girlfriend (Hanna Mangan Lawrence) going off to college and entirely too much time spent on Madec's uninteresting deal with the Chinese. As the film proceeds, it starts relying on contrivances and gets increasingly cartoonish, with Madec sipping martinis and blaring classical music in the middle of The Reach while waiting for the right moment to shoot Ben from a distance (also, they're out in The Reach for several days--wouldn't the sheriff come looking for them at some point?). Douglas is obviously enjoying the opportunity to ham it up, but it undermines the genuine suspense of the early-going, and by the time the climax rolls around, Susco and Leonetti have completely driven things off the cliff, with a coda that's more at home in a slasher movie than it is here. Madec is a rich asshole--he's not an unstoppable killing machine. BEYOND THE REACH is entertaining enough and at just 90 minutes, it's never boring, but the additions made to the story just end up being extraneous filler that does it no favors. It's nice to see Douglas--who, at 70, is looking more like his dad than ever--sinking his teeth into the sadistic extreme of the kind of role he used to own, but BEYOND THE REACH just gets too beyond silly for its own good. (R, 92 mins) THE PYRAMID (US - 2014)
20th Century Fox planned on opening THE PYRAMID on over 2000 screens until shortly before its December 2014 release, when some studio exec must've accidentally watched it and it was abruptly scaled back to around 600, essentially a tacit admission that 600 screens would be 600 too many. Produced by Alexandre Aja (HIGH TENSION, the remake of THE HILLS HAVE EYES) and the debut directing effort by his longtime writing partner Gregory Levasseur, THE PYRAMID is yet another faux-doc/found-footage time waster, centering on a bickering father-daughter archaeologist team (Denis O'Hare, Ashley Hinshaw) investigating an underground, three-sided pyramid in Egypt that's supposedly been unexplored for untold millennia. They're being tailed by a documentary crew, but Levasseur can't be bothered to establish any consistency in the way the film is shot. Sometimes it's documentary shaky-cam, sometimes it's a straight narrative horror movie, switching back and forth at random. Once inside the pyramid, they encounter feral, cat-type creatures and are picked off one by one by a larger monster, ultimately concluding that the pyramid is a) the prison of Anubis, the heart-weighing, heart-devouring jackal god of ancient Egypt, and b) probably still a more pleasant place to be trapped than inside a theater showing THE PYRAMID. Most of the film consists of screeching characters running around in total darkness, and what little you can see isn't scary or even remotely interesting. The worst film to come from the Aja camp since the remake of PIRANHA, THE PYRAMID is further evidence that this style of horror film has just run its course and should be mercifully taken off life support. Dull, uninspired, impossibly lazy, and filled with the kind of stupid dialogue exchanges where people are having things they should already know clumsily explained to them strictly for the sake of informing the audience, THE PYRAMID is so bad that it may actually induce a newfound appreciation for the similarly-set AS ABOVE SO BELOW. You're better off just listening to Mercyful Fate's 1993 song "Egypt," which essentially tells the whole Anubis/Osiris story in a more coherent fashion, with the added bonus of some killer guitar work and King Diamond's signature falsettos. (R, 89 mins)
